Trying to get the sentences right and the structure of the narration right is about as big a job as I can handle. But I also know that if you handle that job properly, everything else just clicks into place.

You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.

The stories are there first, and they come from my experiences wandering around in the world. They will resonate into bigger things, forces sweeping the planet, themes and archetypes, but I'm not smart enough to have lucid integration of all that in my head as I'm writing.

When you meet powerful men or just read about them in the newspapers, you see that they don't have a sense of boundaries.

The larger the audience the better. The more pockets in the world, the more interesting and exciting because it just makes it that much more liberating. This makes it that much more liberating for the various facets of creativity to be explored.

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.

The creativity of childhood was often surrendered amid feelings of unworthiness. So the idea that others are demanding to be given it back - to be 'taught' - is disturbing.

When I first started all this, it was mostly music fans that came along, Stones fans. But now, I'm being taken seriously. I've got highfalutin' art collectors and everything!