Going to the Far East was my first eye-opener to a world vastly different from my own. Then when I was 16 I lived in Paris for a year and studied mime. At 21 I went to Indonesia. I had planned to go for three months, but I stayed four years. I just got lost in the culture.

Creativity is a gift, but if you don't know how to use it you might not even know it's there. There's a lot of creativity in the air, but it's meaningless if you're not open to receiving it.

Some people become dullards, but as children we are all creative. It's in the programming, the socialization, that we lose our sense of play.

One of the reasons why I love to do Shakespeare is that this great artist was able to talk to a wide variety of audiences. He could do the bawdy plays and the humor and the clowns-as you know, because you're a wonderful Stephano-that speaks to the populace, the masses, the groundlings, whatever.

When I'm sculpting, I work with wood and clay, and though some say that an image is already in the material and the sculptor just has to discover it, I also believe you have an image in your head that you're trying to get to. So you're in a dialogue with the piece, a back-and-forth.

I am, to be quite honest, sick of hero stories.

I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.