I've been around Hollywood and filmmaking long enough to know that it's a tricky dangerous business when you go on camera, you got to watch yourself.

Sheer obstinacy is very very important for anybody who wants to create.

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

I had to learn to do stuff only for myself, and stop thinking about pleasing some imaginary client or boss. It's a habit that many artists get into that have worked in commercial ventures.

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.

Puppets are pure form then ideas for performance come out of that. It's always the form and the visuals and that's why I like to make puppets in a gallery or museum. They're not often in those contexts.

You're free because you don't have to expose yourself, and you can go wild, and let your id completely out of its box, and nobody will see you because you're operating through a surrogate. It's an opportunity to crack open your shell, to melt down yourself, and just let yourself go. It's a form of catharsis for me.