Talking about [Donald] Trump, there's nothing wrong with Trump. He's who he is. It's wrong with us, who let him [win]. That's what's wrong. It's not that he's going to change, but the people who think like him.

I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

Immaterial art is the strongest because there's no obstacle; there's just energy, and I believe in energy.

My mother and father had a terrible marriage. They celebrated their wedding anniversary one year with their friends. Why did they celebrate? Maybe because they had lasted so many years without killing each other.

Do you know what's most interesting? Working with the very strong restrictions of the institution. In the Renaissance, the aristocrats would order paintings from the artist. They would order the Crucifixion of Jesus. The restrictions were amazing. Jesus had to be in the middle, three apostles on the left, four apostles on the right - and still you had masterpieces. It's really interesting to work within restriction, and see what you can do with restriction.

When I was 14, I thought I looked terrible. I wore these typical Slavic shoes with metal bottoms so you could always hear me coming and this really ugly princess skirt and blouse with the top button closed. I had a boy haircut, a baby face covered with pimples, and a really big nose.

It was incredible, Lady Gaga came to see the piece. She didn't sit with me, but it was all atwitter. Every single kid from 12 to 18 ran to see Lady Gaga and then Lady Gaga left and they stayed. And they stayed another day another day and it created a completely different culture, a different audience that I never had before.