When we see something beautiful it calls up raw, naked emotion and that's an embarrassing situation to be in.

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.

No matter how much I'm on and people are loving me, there's always some like, and it's usually a woman too, in the audience rolling her eyes, "Oh Wayne, you're embarrassing yourself." There's always someone like that.

I've been very lucky. I've had three separate careers: freelance illustrator, then set designer, puppetteer and animator, and now fine artist. I just bluffed my way into every one of 'em!

When I commit to working with an artist, I give them as much respect as I would like and if I'm not going to commit that way, then I don't want to work with you.

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

I want to reach out and entertain people. I want people to come to a museum that have never been in a museum before. I want also to have enough art references in it that would satisfy the most sophisticated museum goer.