Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go. He dealt differently with time and duration, and he didn’t care about how people would perceive it. It changed the cinema for me.

That’s an easy question. It was, of course, George Balanchine. He came from Russia via Europe and settled in America in 1933. He started a little company which was not very successful, so he had to start over and over again. Ultimately, he founded the New York City Ballet. I happened to be born at the right time, came to the right place, and had the fortune to audition for him, and work with him, because he is the genius of the century of ballet. I learned how to dance with him.

When I was in high school, there was a book by James MacGregor Burns, a wonderful historian, called The Lion and the Fox, about FDR. And it was about his personality, his character, his early years in Hyde Park, his polio experience and… I remember that so vividly as the first real, live history book that I love so much. And I later met him, and have gotten to know him as a colleague, and he’s about 30 years older than I am, and I couldn’t wait to tell him, “You were the one who made it happen.

Well, if I had studied theater, I would not be making the kind of theater that I’m making. My theater came about by living. My first play that had text was written with another 13-year-old young man named Christopher Knowles who spent 11 years of his life in an institution for brain damaged children and was composing text that were arranged mathematically and had to do with geometry. I was fascinated by his mind and the way he was putting words together. Not only was it interesting to hear, but it was also very interesting to see. It wouldn’t be necessarily right for someone else, but for me it was something I was drawn to. It came about by living, not by reading a book.

It’s the world that's messed up, and it’s the world’s twisted view of what beauty should be. They need to change, it’s never you.

Of course you start to question yourself and ask “Is this really the right thing?” but my gut feeling always seems to lead me in the right direction and I just knew I needed to do this.

When I walk into rooms to write, I just try to make it about enjoying it and having fun rather than thinking about it too hard… But I think it's fun and so much more rewarding when you go in with no plan and just follow your gut and it works.

I think now, especially with Love & Hyperbole, I was like, let me just write the best thing that I can make for myself. Totally intuitively.

But there's a big difference between being ungrateful and being a human being going through things. That took me a while to accept. Once you do, I think it's a lot more comforting to know that it's absolutely okay to feel whatever it is you're feeling, no matter how positive your life seems.

That’s a good way of looking at it. It’s me talking to myself, reminiscing on childhood and things I was told as a kid. Just wanting to stay a certain age and not have to grow up—that’s something I’ve always been afraid of.