I saw that my best work was my most personal work, which is odd, because my fiction is very far afield and has nothing to do with my life.
I try not to look at my old stuff or my new stuff, really. I'm not a fan.
In his new autobiography, 'Capital Gaines,' Chip talks about the farm work - and he says he does, in fact, do it himself.
I've never had to talk about my work, nobody's given a damn about it - you know, what I thought. I find that I sort of like that, to get to keep it to myself. It's a bit bizarre.
When I was a young kid at art school, I loved the sensual geometry of Poliakoff, which, of course, is inherent in my own work.
To expose a first draft to anyone's ears other than your own is indecent.
Everyone has been made for some particular work, and the desire for that work has been put in every heart.
It's a strange position to be in. Not only the fact that I'm trying to live off work that is personal, but how you get the money for that is racing around the country and smiling for people and selling the record, you know what I mean?
If you want to know about my politics, the only way to do that is to look at my work.
When I do my best work, the stories tend to be pretty emotionally-charged.
In terms of work, obviously acting is such a job that is very in the flesh kind of thing. It's your work, but it's your life, in a way. You can get so mixed up.
If I write for myself, I write a song and I bring in the musicians that are best suited to play it. There's a freedom there.
For good or bad, there is a certain level of generalisation when it comes to my work. I want to break that perception. My decision to direct 'Bombay Talkies' or to present 'The Lunchbox' is an attempt to do that. These are the films that gel well with my sensibility, and it's unfortunate, it's not the perception out there.
My work is intensely personal.
'Dark Souls' is my life's work; everything I came up with for 'Dark Souls III' is based on my personal preferences.
When I'm working on something, I proceed as if no one else will ever read it.
I can only speak for myself, and hope people hear my words and see me on television speaking for myself. And, hopefully, they'll be able to make their own judgment. And at the end of the day, I just want my work to speak for itself.
I just want people to respect what I do.
My work is a part of me and I know it. I have no reason to try to pick one part of me out from the rest. I only see my work, or rather I should say I see my work only telling my part of the human experience.
I think for everyone it's good to have your own personal work on a character and a film before you even start rehearsing, to have an inner life.
There're been sort of a sea change in my work in general, in that the more personal, the universal it's become.
The pieces I've written for 'Outside' magazine are definitely my best work, and they're virtually all about the outdoors.
I'm a great salesman when I believe in a product that somebody else is producing, but I always feel very awkward and clumsy asking for money for my work.
There certainly is an affinity between a person and his work, but it is not easy to define what this affinity is, and on that question many judge quite wrongly.
I am not a librarian of my own work. It's a good thing not to be too involved with what you have done.
