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The beautiful thing about working with new instruments is that you sort of approach it with a fresh perspective.
When people asked me, 'What are you going to do?' I'd say, 'I'm going to be an actor,' without really thinking about it. And I started acting without really thinking about it. I only thought about it properly a bit later.
You're thinking about the physical consequences about what you're writing if you're going to direct it. If you're not going to direct it, then it's somebody else's problem, and they'll solve it.
A sign now of success with a certain audience when you do a short comedy piece, anywhere, is that it gets on YouTube and gets around. It's always something you're thinking about unconsciously.
Most science fiction is about white men who are 25 to 30, who are very smart, who face a physical problem and solve it.
In 1977, I wrote a series of poems about a character, Black Bart, a former cattle rustler-turned-alchemist. A good friend, Claude Purdy, who is a stage director, suggested I turn the poems into a play.
Some people try to get very philosophical and cerebral about what they're trying to say with jazz. You don't need any prologues, you just play.
After you start learning all about the mechanics of piloting a riverboat, you stop seeing all the pretty sunsets and you start thinking about the weather.
You meet new people. We just spent two hours with people we didn't know before, just talking about the Badgers.
