'After Room, I thought, maybe I do have capacity for suspense...'
‘I was asking archives to show me their dirty laundry': an interview with Bill Morrison
'The natural order of things is of course disintegration...'
'It sounds bad but I sometimes wonder what other artists do all day...'
James Conway on 'savage' pacifist opera King Priam
'I think the whole point of art is that it challenges your expectations...'
'I'm not immune to bad movies' Art critic turned novelist Zoe Pilger talks feminism
'There's a zeitgeist at the moment, it is really exciting...'
Artist Jamie Shovlin on his slasher project Hiker Meat
'Initially I thought it was a terrible idea...'
Dance, moonlight and 'reversed thinking': Silke Otto Knapp on her new exhibition...
'I don't think the debate of painting's demise is relevant to me...'
'All the characters in Peter Pan had a very strange emotional trauma...'
Juan Pablo Villalobos on his new book Quesadillas...
'I became obsessed with bovine insemination...'
Jeremy Deller talks English Magic...
'It's not a war on wealth. That's an exaggeration...'
The Debate Society at the Almeida Festival...
'We hope the audience feels they've been immersed in a unique and vivid world...'
Dirty Protest's Tim Price on 'Plays in a Bag', the Almeida Festival and new Welsh theatre...
'To be born a Welsh playwright is to have lost in the artistic lottery...'
'It won't be to everyone's taste': Tim Crouch on his new work for the Almeida Festival...
'We don't put you in a nice box as an audience...'
Almeida Festival director Lucy Morrison on a month of pushing at theatre's boundaries...
'it's interesting to see work that's finding its feet...'
Under The Influence: Chris Dunkley and Chris New on The Precariat...
'The play beats the drum for a subject that is brand new...'
'It might be too sad to workout to though...'
'There will always be this interest': The curators of War Games at The Museum of Childhood...
'It's quite telling how strongly toys reflect the values of their time...'
'You have to pack in as much experience as you can in life...'
'A wondrous berry, just like art itself...'
'The idea of Vegas is thrilling: a city where no one is who they say they are...'
'To dismiss these artists as outsiders is to miss the whole essence of this work...'
'Illustrators can make a living now': Pick Me Up organiser Claire Catterall talks shop...
'It's the people being here who make the fair what it is...'
Under the Influence: Chilean director Dominga Sotomayor talks Antonioni and Rembrandt...
'Through the eyes of the children were always images entangled in my head...'
'Landscape is a character': Annemarie Jacir on a career of firsts in Palestinian cinema...
'I am from a family of wanderers...'
‘There were cathedrals absolutely everywhere': Benoit Pioulard swaps Oregon for the UK...
'I did a lot of coastal bike rides to Margate...'
‘It's like a phenomenon': Hofesh Shechter gets political in Derry-Londonderry...
'Dance is a celebration of what we share...'
‘The life of an ambient composer is always dark’: A Stars of the Lid primer...
‘Rubber, air, speed, an explosion, death': Mike Nelson on his new exhibition M6...
'There's something quite ritualistic, almost quasi-religious about it...'
'Its strangeness is its wonder': Tamsin Oglesby on adapting The Mouse and His Child...
'Children don't always realise that death is this bad thing...'
'It's a special challenge to write about people who don't speak...'
'You can't fake chemistry or magic...'
'I realised that I’m not really cut out for anything else...'
'You think 'Oh my god, 'I've ruined all these people's lives...'
'We're thinking about a UK biennial': Sally Tallant has big ideas for Liverpool...
‘Things are possible here that would be impossible in London...'
'I don't even know the words': Sune Rose Wagner on the new Raveonettes record...
'It sounds crazy but I’m not much of a music listener...'
'The record is the narrative of our friendship...'
'We had a revolution, that's for sure...'
'It's very, very different from anything I've ever done...'
'I'm the last screenwriter left. All the others have become directors...'
'My characters are screw-ups... aren't we all?'
'It would have to be a really extraordinary elephant for me to buy it...'
'The images may be dead and putrid, but they are hopefully rendered alive...'
'I say ‘that's funny' instead of laughing, which infuriates people...'
'There's only so much tradition a musical genre can withstand before it dies...'
'Anyone who says they know what makes a successful musical is an idiot...'
'I relate to feeling distracted by the internet...'
'It makes sense that there's a lot of good art from New Jersey...'
'Maybe I'm done with the Holocaust...'
'I'm always amazed at how open people in different communities are...'
'There is melancholy even in the happiest of moments...'
'Opera should be funny...'
'It's old fart's talk, but my generation thinks waste is immoral...'
'It's like the equivalent of the invasion of Baghdad...'
'There is a romance to the internet...'
'I like transformations, girls going on quests and trying to fix things…'
'Filmmaking in the silent era was about experimentation on every level…'
'All art is biographical to a certain extent…'
'The main income source for musicians has disappeared...'
'I have limits as a singer and as a songwriter...'
'It's common for young artists to fetishise rural aestheticism…'
'I wanted my Julius Caesar to be sexy.…'
'If my father hadn't done what he did, I would be very naïve...'
'I always feel like an outsider in Thailand…'
'It's really for people who get stoned…'
'Nothing will replace live performance…'
'All music is about other music…'
'My goal is to see young people playing the ngoni, not the guitar...'
'Getting a laugh and getting a scream are very similar…'
'I tell stories of women, and I take them seriously…'
'Everything in L.A is familiar and disturbing…'
'We are not simple postmodernist rummagers...'
'I grew up listening to the Peter Gabriel hits...'
'Chris Cunningham was very encouraging...'
- Opera & Dance