I really have to give the Navy all the credit it deserves. They were so flexible and accommodating, given that everybody on board had better things to worry about than this person coming on board who's just going to be in the way, really.

I was studying English, as you will, in the day, and five nights a week, I would be at the cinema. That continued throughout my 20s, which was also the 1980s - there was a lot of really good films coming out then.

One of the great privileges of my life was growing up in a house without books.

I am still moved by passages of Marx: the 'Critique of Hegel's Philosophy of Right,' for example, where, after the famous line about religion being 'the opium of the people,' he goes on to call it 'the heart of a heartless world.'

There must be room for the imagination to exercise its powers; we must conceive and apprehend a thousand things which we do not actually witness.

In a lot of ways, I wouldn't be an artist in another time. I need to exist in a time where high and low art mix easily.

I got into writing music when I was, like, 14 or 15. It was a very private thing for me because I used it as an outlet and emotional release. I kept it very close to myself and didn't tell too many people about it.

I think after 'The Day The Earth Stood Still,' I really stopped thinking strategically about my career. I just did. At that point, it became crystal clear to me that you can strategise your career all you want, but it's so difficult to get a movie made, and creativity shouldn't be subjected to that kind of strategic thinking.