I was sent to the regular public schools until I had to go to Belmont Hill. Because I wasn't doing anything. The public school was nothing, just a total waste of time.

I've kind of always done diagrams. It helped me think.

I always had a sense of liking diagrams, from the time I was studying architecture. Architecture is built diagrams, basically.

I thought George Adamski was actually a fraud. Looking at him, I found him repulsive. In other words, he didn't have the wide-eyed, innocent look that Orfeo Angelucci did.

I hear some guy teaches a course in diagrammatic thinking now; he's written books on it and stuff like that, and so it was kind of natural for me. Because it was a way in which words naturally fitted into something that's visual. I was always interested in doing that.

You know, people who can draw get upset when people who can't start telling them what to do!

Look at all the stuff the Existentialists did. You can start with [Pablo] Picasso, you know, and then Francis Bacon and other guys like that. What they were doing is depicting suffering. And that's exactly what a demon is, he's pretending that he isn't. So he can get more people down there. You know, misery loves company, that's the whole thing. So that's basically the pitch that I'm working on.