I can't help it. I always focus in on the negative.

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.

I am very suspicious of cameras and dramatic interpretations and the whole Hollywood myth-making process. I don't trust it. I've seen it affect people in bad ways.

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.

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.

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

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