I wanted to deconstruct the puppet show. I wanted to turn it inside out and do stuff that you're not supposed to do. I didn't want it to be gentle like most puppet shows tend to be, since they come from childhood where you're gently trying to tell a story. I wanted to blast all that out of the water. I think there's plenty of room of any kind of attitude toward puppets. I call puppeteering acting while hiding.

I become exaggerated, and loud, and obnoxious, and full of the spirit of improvisation. That's one of the weird things about performing, I think that any performer will say the same thing when you're on stage in front of a crowd there's a certain moment when you kind of click into a trance-like state and you just kind of go with it. I love getting into that mode. It's transcendental.

Some of these bulls are gonna' spin those cowboys so fast, they'll look like a frog in a blender.

I don't like the idea of busing children all over the country. It's not safe. And there doesn't seem to be that much of an urgent need for it to be done.

Artists are people who create beauty. That's the bottom line.

Static puppets, I wanted them to move, they're looking out the windows, but we didn't have time to rig those. I have more ideas than I can execute also every time that I do anything. I put the puppets in because people love 'em. I'm a populist in that sense.

Once the cameras rolling or the audience is in the seats, I'm on. I can't help it. I go into a trance.