One of the reasons I moved away from painting was because I eventually discovered that I wanted to deal more with motion, time, and performance - and that became a much bigger part of my life both as an actor and as a musician and someone who goes on stage and travels around the world and works on productions.

I think what a big part of 30 Seconds to Mars is, it's not only music, it's not only art, it's a community. It's a sense of having a place to belong. And not everybody will understand it, and that's ok, it's just for the people that do.

This is an industry [high fashion] that has an abundance of over-confidence. I don't think anyone would dispute that, and I'm not trying to pick on anybody, but that's just a fact, right? And sometimes that's fun.

I'm terminally dissatisfied. That's probably part of being an artist.

I’ve always been interested in leaders and rule breakers and artists and politicians.

He's an innocent in a lot of ways. He's a very simple person who really doesn't have the resources or the strength, ultimately, to handle the situation.

I had traveled to Russia and met with Snowden, which was a pretty involved meeting that required encrypted communication and the like. And it was fascinating because of who he is and what he's done. And more so because what's going on between our two countries, Russia and the U.S., and to meet Edward Snowden in Russia was unforgettable.