Some people become dullards, but as children we are all creative. It's in the programming, the socialization, that we lose our sense of play.

That's my policy - to be positive, to just hope that something will happen. If you start with all your fears, your receptivity is for the negative.

When I'm sculpting, I work with wood and clay, and though some say that an image is already in the material and the sculptor just has to discover it, I also believe you have an image in your head that you're trying to get to. So you're in a dialogue with the piece, a back-and-forth.

What I adore is the juxtaposition of high tech and low tech. It's sort of like I love the sacred and the profane. I love to put these extremes in the same hopper.

You don't have to patronize your audience, and you can mix art and commerce in a profound way. You can simultaneously play to the sophisticated, 60-year-old theatergoers and to 4-year-olds.

I don't want to sound like a heroic woman or to seem full of myself, but I do have a core of trust that I'll figure things out and find my way. And if whatever I try is not a good experience, even that is a good experience. If something turns out lousy, it's interesting.

I received from my experience in Japan an incredible sense of respect for the art of creating, not just the creative product. We're all about the product. To me, the process was also an incredibly important aspect of the total form.