Sometimes you write passages that don't need to be rewritten. Performance is that for me. Improvisation, things that happen in the moment, are sometimes wonderful, or wonderful as a moment to be shared between performer and people, but that's it. There might be a strong bond between you and the people, a transformative night, but as a live record it might not translate.

When we got to the part where we had to improvise an argument in a poetic language, I got cold feet. "I can't do this," I said. "I don't know what to say." "Say anything," he said. "You can't make a mistake when you improvise." "What if I mess it up? What if I screw up the rhythm?" "You can't," he said. "It's like drumming. If you miss a beat, you create another." In this simple exchange, Sam taught me the secret of improvisation, one that I have accessed my whole life.

I think that there is an air of experience and aesthetic sophistication that weaves in with the amateur aspects of the film [Dream of Life]; it gives the film a certain elegance.

In art and dream may you proceed with abandon. In life may you proceed with balance and stealth.

Pollution is a necessary result of the inability of man to reform and transform waste.

That whole thing about masturbating. Most girls, I guess nobody has to tell them, they just figure it out. I had to be told. Some girl actually had to show me a hairbrush and demonstrate exactly what to do. I just never figured that stuff out naturally.

I don't know why, the very first word on my very first record is 'Jesus.' I still invoke him as an entity to reckon with.