When I was a kid, I used to live in New York City. There was a guy named Michael Alig. He used to throw parties. And a couple of times, I even worked for him and his crew, and handed out fliers, and had my super-high shoes on, and wearing silver Saran Wrap around my head or something. It's a world I was really comfortable in: a world full of individuals. I think what I like about that world - besides my own personal interests - is the individualism, the investment in the self.

If I saw a man and I was attracted… I would follow through with it.

I Lived on the street when i was a kid, i wasn’t even at school, so i had a whole different set of experiences for those formative years. I was gone… i was in a very precarious place when i was younger.

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 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.

I like to think that people can see that and appreciate that idea and then, by some mechanism of wearing the fragrance, sort of carry that idea with them in their own life. Whether it's a weekend in Louisiana or in New York City or in Venice, Italy, or wherever they may be. I think there's something kind of fascinating and powerful about that.

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.