The art cars are the public transportation system. And that requires regulation because, lately, we've had art cars that don't want people on board and that want private parties, and that's in conflict with the communitarian feeling and the interactive aspect of society.

It avoids a self-conscious relationship to the act. We live in the most self-conscious society in the history of mankind. There are good things in that, but there are also terrible things. The worst of it is, that we find it hard to give ourselves to the cultural process.

We take people to the threshold of religion. Our aim is to induce immediate experience that is beyond the odd, beyond the strange, and beyond the weird. It verges on the wholly other.

They become the keepers of the mystery. They place themselves between the communicants of the religion, and the immediate experience. And then they dictate the terms on which you can have contact with this wonderful mystery. We don't dictate those terms.

There were always other children in our house, even though I'm an only child - there were always these other kids coming by.

All the time a person is a child he is both a child and learning to be a parent. After he becomes a parent he becomes predominantly a parent reliving childhood.

When I talk about my artist parents, people imagine a bohemian environment and think, 'Aha, so that's where he gets it from!' But we were as white, straight, and middle-class as the next family on our white, straight, middle-class housing estate.

My father was in the coal and heating business, and he wanted me to take over his business, and I resented every moment of it. So I would never force my kids to do what I do.