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It was probably years before I was confident enough in stand-up that I was able to talk about the things I wanted to talk about, the way I wanted to talk about them.

I wanted to have a reaction from the audience. I wanted to be able to talk to somebody, and not be talking just to myself. That's when I did 'The Conformist,' 'Last Tango in Paris,' etc. And I found it was incredibly rewarding, something new.

I grew up in a time when it would never have occurred to anyone to tell me there was anything I couldn't do.

Probably some of the projects I chose to do after that had more to do with what people thought of me. The industry was very open and probably hoping that I could do anything.

I realized if I didn't start talking to my relatives, asking questions, thinking back to my own beginnings, there would come a time when those people wouldn't be around to help me look back and remember.

When I first got started in the late '70s, early '80s, and first was thinking about the interactive world, I believed so fervently that it was the next big thing, I thought it would happen quickly.

I was one of those weird children that just couldn't talk to people, so I kind of had to make myself be not like that because I knew it was going to hinder me.

I emerged in that incredible moment in the 1980s when all kinds of social questions about subjectivity and objectivity, about who was making, who was looking.

I used to do a lot of interviews in the early '80s, when my career started, but it came to a point when I decided I didn't want to talk anymore, and people kind of understood that and left me alone.