It is the haunted premises of longing that the true love song inhabits. It is a howl in the void, for love and for comfort and it lives on the lips of the child crying for his mother. It is the song of the lover in need of her loved one, the raving of the lunatic supplicant petitioning his God...The love song is the sound of our endeavors to become God-like, to rise up and above the earthbound and the mediocre.

Not my biggest fear, but my biggest problem onstage is over-emphasizing what I do. I'm pushing too hard. You need to engage an audience. They need to be able to involve their own imaginations as well. They don't need everything thrust down their throat, and I have a tendency to do that. I always have had a tendency to do that.

It's very intuitive, the way that I approach my work. I only buy something that has a pulse. I may not know how I'm going to use it, but I know it has a pulse and it has multiple readings - if I shift it one way or another, it can be read this way or it can be read that way, but both readings are critical and very much ground the work.

The artistic process seems to be mythologized quite a lot into something far greater than it actually is. It is just hard labor.

God has matured. He is not the impulsive, bowelless being of the Testaments - the vehement glorymonger, with His bag of cheap carny tricks and his booming voice - the fiery huckster with his burning bushes and his wonder wands. Nowadays God knows what He wants and He knows who He wants.

All of our days are numbered. We cannot afford to be idle. To act on a bad idea is better than to not act at all, because the worth of an idea never becomes apparent until you do it.

Most people wait for the muse to turn up. That's terribly unreliable. I have to sit down and pursue the muse by attempting to work.