There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.

I think beauty is a feeling that you get after you've had an experience. It's the way you feel about it that is beautiful.

There are generations of people who have never seen a big plate painting in person. And they don't know what the hell they look like, they don't know what it feels like to stand in a room with them.

It's a great excuse and luxury, having a job and blaming it for your inability to do your own art. When you don't have to work, you are left with the horror of facing your own lack of imagination and your own emptiness. A devastating possibility when finally time is your own.

I think it's your own ghost, seeing the work and just thinking if it will be okay to leave that around.

I think that truth is stranger than fiction, and it's nice to know the people you're making a movie about.

Everything I've seen becomes real once it becomes memory. The films I've seen are interchangeable with things that have really happened to me.