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I leave the genre labeling to other people. I really do. If I were to think too hard about it, that would stifle you creatively. If you think too hard about who other people want you to be as an artist, it stops you from being who you want to be as an artist.
The thing about the banjo is, when you first hear it, it strikes many people as 'What's that?' There's something very compelling about it to certain people; that's the way I was; that's the way a lot of banjo players and people who love the banjo are.
If you ask people whether a computer can be smarter than a human, 99.9 percent will say that's science fiction. Actually, it's inevitable. It's guaranteed to happen.
I get one hour, really 25 minutes in a sermon on a weekend, to combat all the hours of the week that people are told you are what you have through billboards, commercials, and sitcoms, and so forth.
We save paradise by an intense education program where you get people that you can trust to talk sanely about the environment and hope that the message will get through.
You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.
We see the people that have got stars in their eyes, but if you've really got what it takes, you can get from, say the beginnings, to the top in about five years.
It's kind of weird. You can have hits, but it's hard to sustain a career. I went through that period where I didn't have a lot of hits, although people were still buying the records.
I interviewed survivors, I went to Poland, saw the cities and spent time with the people and spoke to the Jews who had come back to Poland after the war and talked about why they had come back.
