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.

But I think frustration is hilarious. One of my missions is to bring humor into fine art. It's sacred.

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.

I'm probably the worst person in the world to give advice to puppeteers. My whole attitude towards puppets from the beginning was not one of love, but it was like anti-puppetry.

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.

Exposing something that's painful or raw or not so pleasant. That seems to be the dramatic motor of documentaries, exposure.