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.

I practice the artist's golden rule. I wouldn't want somebody telling me how to finish my painting, I'm not going to tell him how to finish his movie or how to shape his movie.

I have some sort of performing gene that's just there and I cannot explain it but I want to connect with people through a camera or on a stage. I just can do it. I just have an intuitive sense of it. So I love doing that, I love going into that trance.

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'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.

You're free because you don't have to expose yourself, and you can go wild, and let your id completely out of its box, and nobody will see you because you're operating through a surrogate. It's an opportunity to crack open your shell, to melt down yourself, and just let yourself go. It's a form of catharsis for me.

But I think frustration is hilarious. One of my missions is to bring humor into fine art. It's sacred.