. . . I wrote a letter to Thomas Pynchon asking, Can I have your permission to try to make an [adaptation] of your book? And I had no idea that he would answer me, because he's pretty elusive. But he did send a letter back that said, Yes, you can do that - as long as the only instrument in the opera is a banjo. I thought, That's an interesting way of saying No.

I genuinely have never been in an audience where most people want that person to fail. I've never been in an audience like that, and I've never seen it as a performer. Only in my dreams, in which case they are always throwing tomatoes and going, "This is the most boring thing I've ever seen."

What happens when you're in a crash is you join a crash club, and you talk endlessly about your crash because you don't want to bore your friends with it. And they've heard about the crash so many times.

The main thing that attracts me to Buddhism is probably what attracts every artist to being an artist - that it's a godlike thing. You are the ultimate authority. There is no other ultimate authority.

Some friends of mine work in an office. They were getting really nervous from their coffee breaks, so they started to have wig breaks. They tried on wigs for 15 minutes. They found this relaxing. So that's Wig Therapy.

When I was four, I was a kind of sky worshipper. I would look at the sky, and I wanted to evaporate into the sky - I loved the sky. I loved looking at the trees, just because they touched the sky.

I have written a lot about snakes. There's something pretty primordial about it.