But nobody predicted anything of this magnitude in terms of resistance. And in part, the magnitude of the resistance was spurred by our failures in reconstruction.

I'm neurotic in the sense that I can have a crowd of 300 people cheering you, applauding you, standing O, but one guy come out of the audience and go, "Hey man, you should have cut 20 minutes. That wasn't so good." And I'll just obsess on that one guy. After all this love, I'll obsess on him and want to smash his face in and strangle him and kick him down the stairs and I'll be pouting about that one guy all night.

When I perform I'm very extroverted and I wear my heart on my sleeve and some people don't like that. They're embarrassed for me.

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

I throw dignity out the window, and just become a creature of the moment on the stage. I act like I'd never act in real life.

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.

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.