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The thrill of a photo-realist painter is if you get really close to the painting, it looks just like a photograph. Whereas in my case, if you get close to my paintings, they totally fall apart - so I'm about as far from a photo-realist as it gets.
Hopes are like hair ornaments. Girls want to wear too many of them. When they become old women they look silly wearing even one.
I don't want to do anything like Can't Hardly Wait, I don't want to do anything like Scream. I saw all those movies, and they were good, but they're just not what I want to do.
I just like staying at home and eating and watching movies and running around in the back yard.
I just feel like sometimes people don't want to hear the truth. It's hard when you hear the truth. People want to hear what they want to hear. Sometimes I have a hard time with that because I'm very honest.
I have no ideas about what the paintings imply about the world. I don't think that's a painter's business. He just paints paintings without a conscious reason.
That was my one big Hollywood hit, but, in a way, it hurt my picture career. After that, I was typecast as a lion, and there just weren't many parts for lions.
Hollywood does draw some very strange characters, and then the power of Hollywood and what they can do with it becomes like a blood sport to them.
I like 1977 because it is more primitive. If it were modern day, like one Universal guy was like wouldn't they just use their cell phone? I guess he did not read that it was 1977 in the script.
