There's nothing that compares to watching that final of Charles Mee’s 'The Glory of the World' play at BAM17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.

I don't like going to cities. I don't mind maybe being in a city sometimes for a few hours, but I pretty much don't like cities. I don't even like passing through them.

I think everybody works from a defensive position, for the most part, in the film industry.

Frank Sinatra's never been handsome, but he's one of my favorite singers. Who needs looks when you have a voice and power?

I do an opening in 'The Glory of the World' play at BAM, and then I go up to the high balcony in the back and watch the bulk of the play, but then I have to leave my seat about seven to 10 minutes before the end of that final big scene...and it's a bummer.

A record is something that isn't real or true. It's like cinema. It's a construction of something hyper-real and surreal and unreal all at the same time. You make a space that doesn't really exist. One of the big joys of being in this line of work is building the recorded versions of the songs.

It's definitely important to be open enough to seize an opportunity when the opportunity is there.