The editing of moving pictures is geared toward the single image. You'd have to edit things in new ways.

It's all right if you don't mind looking at the world from the point of view of a paralyzed Cyclops—for a split second.

I draw flowers every day and send them to my friends so they get fresh blooms every morning.

I was aware that the teaching of drawing was being stopped almost 30 years ago. And I always said, 'The teaching of drawing is the teaching of looking.' A lot of people don't look very hard.

About shadows: do we see shadows? Loads of people don't. A camera will notice a shadow, but how many people have got a shadow in front of them when they take a picture and don't notice it, and then they see it in the photograph because the photograph will catch the shadow.

Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.

I'm not really looking for theater work. But if somebody approaches me with enthusiasm, I might respond.