If it doesn't feel like a job and I'm learning something and getting that rush that I get, I don't care if it's behind a camera, on a TV set, or on the moon.

My dad is kind of a rascal, like in a Dickensian sense. He just goes from career to career.

Maybe I'm naive, but I subscribe to the idea that nobody is actually making strategic decisions about their career. Trying to do that would be like playing three-card monte on Canal Street.

Every job is an opportunity to be a better person.

A certain rough-around-the-edges improvisational looseness - a sense of something coming together before your eyes, or not quite - may be one of the things that distinguishes performance art from theater.

If you're mostly a writer - if your point of departure is writing something - which for a writer/director is sort of where you start, you're really influenced by the writers you love one way or another.

The theater itself is a lie. Its deaths are mere special effects. Its tales never happened. Even the histories are distorted for dramatic effect. The theater is unnatural, a place of imagination. But the theater tells the audience something true: that the world requires judgments.

I'm always writing. And, I mean, I always counsel people when they call me a musician: I really do not have the skills of a musician. I really don't think like a musician, though I love music and I perform and sing.