There are generations of people who have never seen a big plate painting in person. And they don't know what the hell they look like, they don't know what it feels like to stand in a room with them.

A lot of what I do is about being in the moment and I think that's hard for people to get. I like it when things suddenly affect the painting. I mix up this red and it affects the whole painting or this little bit of white falls down there, and something changes the whole nature of the thing. The residue on what happens, that's what's in the paintings.

Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.

Nobody is perfect. I don't think it's the most scathing indictment of anybody. It's pretty innocuous. [Miral] is just the story of one family and one girl, living in that part of the world, and that's what goes on over there. I thought that maybe it would be informative and useful for people to know more about it.

I think it's good when people don't write good things about your work. I mean, what a great compliment it is to be called a charlatan.

When I made my first film, Basquiat, I think one of the criticisms was that the way I work is episodic. Later, as people started to look at the movies, they started to realize that maybe that's my style. If I could do it better or another way, I guess I would.

There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, "okay," and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.