Playwright Athol Fugard was Barry Moser's model for the face of Job: "I was at Princeton with him in 1995. We were teaching there together, and when we were introduced I said, ¨Would you be my Job?' He said, ¨I'd love to be your Job.'"
"Making good pictures is not a whole lot different from making good fiction. Mistakes are made from telling too much, too many adjectives. People come to my work and go, "Wow, you can count every hair on Eli's face!' Well, horse breath. There are probably no more than 300 or 400 white lines there. It's just that the way they go together, the way they play together, it creates the impression in the viewer's mind that there are thousands of hairs there. Of course, there aren't hairs there anyway; it's ink on paper. Everything's an illusion."