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“When I was thirteen, I had a nervous breakdown, and I was put into this grown-up mental hospital with all these 50-, 60-year-old men and women. This big, Victorian mental house. There were like five boys in there, all my age, looked after by this woman who was 22 or 23. And it was like "Empire of the Sun" meets "One Flew Over the Cuckoo's Nest"-type of arrangement where you've got this young boy overcoming and becoming heroic in the face of this awful place.”

“Honestly, I think it's dumb luck that I'm able to kind of get away doing different types of films in different genres. There's always a tendency to kind of stick with what works, or stick with one particular kind of brand or movie. But so far I've been getting away with it, so I'm going to continue to do that for as long as I can.”

“It used to be trained professionals doing animation and they were great. Now they have celebrities and famous actors doing the voices, but that does not always work. But I think this film turned out really well, partly because the three of us (me, Ray and Denis) are comedians who are used to doing solo acts and doing certain types of voices. The three of us are New York guys, we all came up the same way in the profession and we are all edgy and enjoy doing family movies. It was a good combination I think.”

“I got a phone call from George Miller [the director] asking me to play this role. We sat down and he showed me on his computer a documentary-type montage sequence of real penguins swimming, in an Esther Williams synchronized sort of way, and doing things I have never seen them do. Then he explained his vision of the film, asked me to read the script and to voice the character. I was cast a little bit later, and he let me do the singing as well!”

“If a weaker baboon be attacked by a stronger baboon the weaker baboon will either (a) present his hrump fanny I believe is the word, gentlemen, heh heh for passive intercourse or (b) if he is a different type baboon more extrovert and well-adjusted, lead an attack on an even weaker baboon if he can find one.”

“When I was a boy we were poor and we had to make do with what we had. So my grandma used to make us quits that we used for blankets. She couldn't afford to go to the store and buy a blanket -- so she'd take scraps of cloth and sew them together. there'd be different colors and different patterns and different types of cloth -- but they all went together to make that big quilt to keep us warm.”

“Perhaps there may come into my art also, no less than into my life, a still deeper note, one of greater unity of passion, and directness of impulse. Not width but intensity is the true aim of modern art. We are no longer in art concerned with the type. It is with the exception that we have to do. I cannot put my sufferings into any form they took, I need hardly say. Art only begins where Imitation ends, but something must come into my work, of fuller memory of words perhaps, of richer cadences, of more curious effects, of simpler architectural order, of some aesthetic quality at any rate.”

“It doesn't necessarily matter if I'm onstage or not. I just find the communal experience of a rock concert, or any type of music performance, achieves a kind of transcendence that I associate with spirituality. It's the closest thing to what I think people expect church to be like. Or maybe just what I've always thought church should be. You lose yourself, and at the same time come to the realization or understanding that you're part of something bigger than yourself.”

“A lot of indigenous cultures are deeply involved in working with ancestor spirits, elemental spirits, and demons. Many of these cultures feel that, if you don't deal properly with ancestor spirits, then they come back and infest the living in the form of things like depression, addictive patterns, and neuroses. We in the modern West completely deny the existence of these spirits or other types of entities. And because we've denied them, we may have opened the gates for them to manipulate us in a lot of ways.”

“I think there are three types of actors. There are the ones that do the ego thing, which is "I'm never going to look bad in a movie, ever." This is mostly the action film dudes, like, "Nah, hell no. He ain't punchin' me! I'd whoop his ass!" Then you've got the activist type who bases their decisions in the development of a character on what it symbolizes to society - what the ethical code is. And then the third type is a true thespian who doesn't give a flying rat's ass what it is as long as it's deep, powerful, and painful, and they will dive in headfirst. I really respect those people.”

“I think it's very important to get this stuff on film, not just the behind-the-scenes of the process, but also the interviews with the women. We're going to try to do some on-the-street filming, getting people's reactions to the work, and seeing if we can get some street harassment happening on film so people can see what we're talking about. It's important to have some type of documentation so people can see what happens when we create this artwork and why I'm creating it.”

“It has become a commonplace that aggressiveness also often has its roots in fear. I am inclined to think that this theory has been pushed too far. [...] The type of aggressiveness that is the outcome of timidity is not, I think, that which inspires great leaders; the great leaders, I should say, have an exceptional self-confidence which is not only on the surface, but penetrates deep into the subconscious.”