I love Christmas tree bulbs, and I started putting them in my paintings. You've got to plug this painting in, and it's got a rig in the back, so that each one can be replaced if it burns out.

I don't really follow television so much, but in the old days there was a certain way TV was, and it wasn't really like cinema. I don't know how many ways it was different or the same, but it was not quite like cinema. Now, cinema can happen on television.

I don't know why people expect art to make sense. They accept the fact that life doesn't make sense.

I'm convinced we all are voyeurs. It's part of the detective thing. We want to know secrets and we want to know what goes on behind those windows. And not in a way that we would use to hurt anyone. There's an entertainment value to it, but at the same time we want to know: What do humans do? Do they do the same things as I do? It's a gaining of some sort of knowledge, I think.

A lot of artists think they want anger. But a real, strong, bitter anger occupies the mind, leaving no room for creativity.

I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.

You've got to let accidents and strange things happen - let it work, so it's got an organic sort of quality ... By trying to remove yourself you can see some fantastic things sometimes.