Dr. Alton Ochsner certainly was, from a surgical standpoint, my mentor, and the one who influenced me more than anyone else. He was also, like my father, a very strict disciplinarian, and a perfectionist. I liked the way he did things, even though he made you toe the mark. He was almost like a father to me. Took me under his wing, and helped me in every possible way, especially in the research laboratory. He was a brilliant researcher himself. I learned a great deal from him, in terms of how you develop yourself, how you conduct yourself, and the importance of experience and the importance of doing things until you do it perfectly. He had a great influence on me. I am really indebted to his memory, for what he did for me.

Oh, yes, I had teachers at Wheaton. A community high school history teacher named Elizabeth Duncan who taught American history and was a great teacher. Very forceful, very insistent that we write essays to answer questions, and not short answers. Somebody who through force of personality made history interesting and important.

There are three teachers who are still involved in my life. Ray Wilson — who is my office manager, and who was a teacher in my high school, as well as my basketball coach in high school — is very much involved in my life, and is a real father figure for me. A gentleman named Earl Mosley, who never specifically taught me, but was always there, and was a role model for me, was a coach when I was a freshman. And then a guy named Charles McIlwaine, who is a teacher and a coach. In my high school years those three really stood out, really helped to become part of the support group that’s necessary when you’re experiencing all types of physical changes and mental changes, to help to explain things, and put them in the proper perspective.

There was. The critical moment for me was in the 11th grade. My biology teacher, Mr. McKenzie, decided that what our school needed was a theater arts program and we didn’t have it. There was wrestling, basketball, football, it was a very jock oriented school and there was no theater program whatsoever. So we started a theater program from scratch. We bootstrapped it. He taught it, and I think he might have done it for nothing. We had to build the props and the scenery and the costumes and do everything ourselves. We had to turn the stage into a proper working stage. It took a year, but we started putting on our own productions. I think that was really a pivotal moment. My biology teacher was our muse at that time. And I think the fact that we were having to do everything, that it wasn’t handed to us, may have created a kind of a work ethic that paid off then in independent film production because it’s the same thing. You know, you’re finding scraps and bits and pieces, and putting it all together and putting on a show. And it’s that sense of being able to create some moment of glory, some showmanship — out of nothing, out of baling wire — that is maybe a lesson that was learned there as a result of this man who just decided to have a theater arts program.

I started saying in 1985 I don't think we should have a music talking about niggers and bitches and hoes. It had no impact. I've said it. I've repeated it. I still repeat it. To me, that's more damaging than a statue of Robert E. Lee.

I’m the most proud when I get something from cities, or people. At first I was against awards, you know. I would always say, “This is so fake. The people who vote on this stuff, they never listen to the music.” But for me it’s when I received awards or something from the city. Just to go to somebody’s house and eat. Or people come and say, “We spent our anniversary checking you out,” or “We were making love to one of your records, and we had a child!” See that kind of stuff makes me feel good. Like you get a key to the city and the people are really into it. Not just, “Oh, let’s give him the key to the city because he got some publicity.” It will be some people you knew, and you were there at their school, and you worked in the community.