Almost everyone is interested in theatricality—because almost everyone wants to be funny; almost everyone wants to be dramatic; almost everyone wants to be something, some idea, someone. People have to perform. There is a sense of theatricality in all of us and it can take us over—blurring the distinction between life and art. Through living and making, we learn how we can appear to be totally wrong or right on some little point, and that we never know what little point we are going to fight for. Divorces have been caused by little points, wars have been caused by little points, friendships have been broken on little points, and great successes have arrived on the basis of little things that don’t appear important to the masses, but they’re important to us.1 Creating something beyond words and gestures, predicated on the invention of a shared language so hyperbolic and specific and inexplicable—it becomes something greater than us and this is why we do it.

1. Carney, Raymond and Cassavetes, John. “Opening Night (1976-7).” Cassavetes on Cassavetes, Faber and Faber, London, 2001.