First of all I think of puppets as sculpture. They are sculpture that moves. You could label it any way you want, but for me it always starts in my mind as a sculpture.

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.

Making art is nothing but risk, always. If it's not risk, it's no good.

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.

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

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

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.