There has been evolution in my work. In the beginning I was very much busy with the physical body and the limits of the physical body but that somehow naturally led me to the mental body and how I could deal with that. Stillness is so much harder, especially for three months. It was a big challenge. As a performer it is the most difficult experience one can have. And the interactive experience with the public made it even harder.

I had so much fear of blood, and the first thing I did was to cut myself to see what happens. That's the only way to rebuild yourself.

There are two kinds of loss of hope, one is the feeling when your pulse slows down and you are going to die, and there's nothing else left. The other loss of hope is when you're living in a country which becomes insecure, and you don't know what the future is. That's existential.

You know the movie "Rashomon" from [Takeshi] Kurosawa, when all the people in the forest see something different? Each performance was like that.

I don't know anything about the afterlife because I haven't been there yet.

We always think of our own profit, but not in connection to others.

Television is completely another medium.