I acted in junior high in the junior high school group, and then when I got into senior high I was, you know, the main actor of the senior high school.

I see within us all (myself included) the replacement of complex inner density with a new kind of self—evolving under the pressure of information overload and the technology of the ‘instantly available’.

Which implies that the real issue in art is the audience's response. Now I claim that when I make things, I don't care about the audience's response, I'm making them for myself. But I'm making them for myself as audience, because I want to wake myself up.

You know, actually, I went to Yale because I wanted to stay out of the army.

Because even at the age of fifteen, I used to go see all the Broadway shows and feel that they were sentimental, that they were pandering to the audience and trying to manipulate the audience. I had no use for practically any of the shows that were hits.

One does not devote one's life in art to shock an audience.

I come from a tradition of Western culture, in which the ideal (my ideal) was the complex, dense, and 'cathedral-like' structure of the highly educated and articulate personality--a man or woman who carried inside themselves a personally constructed and unique version of the entire heritage of the West. [But now] I see within us all (myself included) there placement of complex inner density with a new kind of self--evolving under the pressure of information overload and the technology of the 'instantly available.'