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I no longer worry whether a painting is about something or not. I am only concerned with the expectation, from a flat surface, of an illusion.
Complete and total perfection will come about only when we feel that our perfection is no perfections as long as the rest of humanity remains imperfect.
My mother was an awful cook, an exceptionally awful kosher cook, but I stayed kosher until I got to college, even though I'd long stopped believing in God.
So I always think it's important to allow someone to reveal themself. If you notice something about someone that you like, it could really tell you something about who they are during a time of trial. The truth will come out.
The only other thing which I think is important is: Don't write a book or start a book with the expectation of communicating a message in a very important way.
When you walk down the street and see something in a crazy spot, there's something powerful about that. The street will always be an important part of getting art out there for me.
The important thing is that when you come to understand something you act on it, no matter how small that act is. Eventually it will take you where you need to go.
Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.
When people express what is most important to them, it often comes out in cliches. That doesn't make them laughable; it's something tender about them. As though in struggling to reach what's most personal about them they could only come up with what's most public.