I would advise puppeteering for any artist. It's a way to break down pretensions. It's a sculpture that can talk. It's a painting that can talk. And it's pure play. I think every artist needs to stay in touch with the idea of playing. The artist should always be playing, always. All art is performance.

Almost all Iraqis with any previous experience in the intelligence business are Sunni Arab, increasing the risk of penetration of the new intelligence apparatus by the insurgency.

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.

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.

People that are born beautiful like supermodels act like entitled a**holes. It makes you embarrassed just to see 'em. They handle beauty embarrassingly.

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

As far as I'm concerned, there is no line between high art and pop art, and there should be no line.