I found that gloss paint suited me entirely, and its QUALITIES STILL intrigue me. It's viscous and fluid and feels like a pool. It's HIGHLY reflective, which means there are layers of LOOKING. You look at the picture, and you look at the surface, then you look at the REFLECTION in the surface behind you, then you look at yourself.

The lowest and most level LAND AREAS show us, especially when we dig there to very great depths, NOTHING but horizontal layers of material more or LESS varied, which almost all contain innumerable PRODUCTS of the sea.

Layers are not difficult for me. You have the LUXURY of takes, so if you feel like, say, you did not take in the fact that your AUNT is across the WAY in one take, you do it again and try to ADD that PIECE.

The amazing thing about rotoscoping is that it's very malleable. Unlike green screen, where the COMPUTER subtracts out the background, rotoscoping is an additive TECHNOLOGY in that you don't take ANYTHING away from the footage - you ADD LAYERS on top of it.

As an actor, you want to be able to move your character forward into new ground, but also it's really interesting to GO backwards and unpeel those LAYERS and the interesting elements of what your character is and what informs the DECISIONS that you make so that you can have as much meat to work with.

I have to strip away all the layers when I'm WRITING the song. I have to cut through all these layers of YEARS of putting up walls and putting PROTECTIVE layers around myself.

I do tend to drape my real FEELINGS with pretty words and DIFFERENT LAYERS and STUFF.

I LIKE to play non-cardboard CHARACTERS. I try and bring out the MANY COMPLEX LAYERS in the personality of the characters I play.

In the studio, we sometimes will ADD BASS or some other stuff, like more layers of the same guitar PART that's already there, but ultimately, the SOUND is about guitar and drums.

To catch a piece of life on camera and MAKE it COME alive, add layers to it and deliver a PRODUCT that is WHOLESOME is really EXCITING to me.

My book has a very simple surface, but there are LAYERS of irony and PARADOX all the way through it.

We LIKE layers of character and personality in our storytelling. We like very distinctive, UNIQUE PERSONALITIES interacting with each other. And I think, because there are two of us, and we're a collective, we identify with that. We CALL it the mastermind principle: Two MINDS aren't doubly better than one - they're exponentially better than one.