I have more respect for somebody who points at his ideal - in this case, the ideal of the pirate - and then becomes something that's more radical, more exciting, more subversive than a pirate could ever be.

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.

My booking agent, of course, here and overseas, their tendency is to want to build on a certain kind of measurable success, and I was thinking yesterday, what I'd like to do is maybe start to compile a list of the best 200 to 500 capacity rooms around the world and just start going to them again and again and again.

It's nice to be able to backtrack and not be embarrassed by the music you used to listen to.

Cities are made for enemies to destroy.

I think that what trips up a lot of great musicians is that they become involved with too many things that aren't where their strengths lie.

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.