“I saw [Allen Ginsberg] more as an old man who liked poetry and who had a lot of physical and emotional problems. We liked our time together.”

It [success] is really by mistake.

Destroy or build. Crazy or noncrazy. I’m not nostalgic about the old city. I don’t enjoy it that much.

Technology is a liberation. I think the information age probably is the best thing to happen to the human race in human evolution.

Of course, there [in China] has to be chaos. It has to be crazy, and I don’t think there’s anything wrong about it except this government, which is really incapable of doing anything meaningful.

This so-called contemporary art is not a form, but a philosophy of society.

If there is no freedom of expression, then the beauty of life is lost. Participation in a society is not an artistic choice, it’s a human need.

I wouldn’t say I’ve become more radical: I was born radical.

I call on people to be ‘obsessed citizens,’ forever questioning and asking for accountability. That’s the only chance we have today of a healthy and happy life.

What is important is that we actively express our thoughts and wishes, in every realm that we can access.

The [China] government has improved in the last years. Of course, the structure is still the same; there’s still a one-party system and strong censorship.

Now many enterprises are made by individuals, so the attitude has started to change.

The whole Chinese system – not just the political leadership, the military too, the whole power structure, our education system, the whole of society – is suffering from being cut off from the free flow of information.

I lived there [ in New York City] as an artist, but never as a Chinese artist.

As a total activity – I practice curating, art, architecture, writing, and publishing all together. I still act as a living creature.

For artists and intellectuals today, what is most needed is to be clear about social responsibility, because that is what most people automatically give up. Just to protect yourself as an individual is very political.

I think the pearls – one is a necklace, and another you have five hundred pounds of pearls, which may be one million pearls in a bowl – really show a kind of [society] condition.

I like the tragedies way more than the comedies because they’re so universal.

You have to have more, you have to give people hope and a vision of a better world.

Hollywood is a strange place. The class structure here is more rigid than almost anyplace I’ve ever experienced. It’s made more difficult by the fact that it’s constantly changing.

I suppose I’m the only person who remembers one of the most exciting of his ballets-it’s the fruit of an unlikely collaboration between Nijinsky on the one hand and Sir Arthur Conan Doyle on the other.

It keeps it more of a surprise. I don’t feel like it has to be a mystery.

When I’m willing to let them change me, something happens between us that’s more interesting than a pair of dueling monologues.

Far from wanting time to pass, one just wishes one had more of it. If one wanted to pass the time one could go to New Zealand.

I think American actors are much more intimidated by Shakespeare. I actually want to do this Shakespeare play in New York, but I think it’s interesting that there’s this gaping hole in the repertoire in the American theater, which is Shakespeare.