Directing action scenes is really just pure visual storytelling that just makes sense to me pretty intuitively.
I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
Personal relationships are usually my biggest inspirations for writing my songs. The best way for me to write a song is to visualise the story in my head, and I start humming a melody, and before you know it, a song is born.
Growing up, I did quite a bit of reading on the mental side. My dad, who coached me, had us doing a lot of different types of mental work, like visualization. I read a couple of tennis books that talked about calming your nerves, belief, visualization, relaxing, breathing.
Visualization - it's been huge for me. Your mind doesn't know the difference between imagination and reality. You can't always practice perfectly - my fingers will play a little bit out of tune, or my dance moves might not be as sharp - but in my mind, I can practice perfectly.
I never think about the play or visualize anything. I do what comes to me at that moment. Instinct. It has always been that way.
If 10 years from now, when you are doing something quick and dirty, you suddenly visualize that I am looking over your shoulders and say to yourself: 'Dijkstra would not have liked this', well that would be enough immortality for me.
I visualize what I do before I do it. Visualizing makes me better.
I probably visualize myself, the shots I'm going to get in the game, how I'm going to play defense, what we have to do to stop the other team's best player, what it's going to take out of me, the whole aspect of the game.
A novel, at least for me, cannot be visualized at one time.
I think what helps me when I'm working on a play, any play, is the degree to which the writer has truly visualized, and then fulfilled, the vision of the world that he or she is creating.
I read Herman Hesse's 'Siddhartha' while I was writing 'Lord of Light' along with many other things. It seemed a good time to read it so I could see what he had to say about Buddha. In my first chapter, I was thinking in terms of the big battle scene in the 'Mahabarata.' It helped me in visualizing the battle in my novel.
I've always been interested in visualizing something, whether it's a memory or an idea you want to be true. I am a big believer in that. I'm constantly thinking of that. If I can't picture something, then it doesn't make sense to me.
I designed a theater magazine that was full of plays and essays about the theater, and then I worked at a theater school. By osmosis or something, I was learning from reading plays and not being analytical about them, but when I would read them, the joy in me was mostly from imagining them in my head and visualizing them.
Jerry picked up the technique of visualizing the story as a movie scenario; and whenever he gave me a script, I would see it as a screenplay. That was the technique that Jerry used, and I just picked it up.
A part of me wants to rely less and less on comedic visuals and make more substantial standalone music. And get a sitcom on TV where I can let my comedy do the talking there.
I don't want to be entertained. I don't want visuals or musicals. I don't want a vacation. I don't want to quit. I don't want sympathy. The cry of my heart is 'Just Give Me Jesus.'
For me, visuals are as important as the music. I just love escapism and giving people something to escape to. To me, that's what art is.
I'm 5' 8,'' and my weight's a steady 82 kg. I fuel my body with the right nutrition, and vitamins like Berocca, to leave me feeling energised and focused to overcome any tough day.
I vividly remember my first day on the White House staff. My office, of course, was in the Old Executive Office Building. I didn't rate one in the West Wing; but don't try to tell me or any of the rest of us working there that we weren't working in the White House.
