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Kickstarter was already up and going when I got the Fellowship. Spending time with the other Fellows was about camaraderie, and I talked to a lot of amazing and creative people.

Those projects most successful on Kickstarter - those that receive funding completely and quickly - do so largely because the creator has a strong social network and invites people to be engaged.

I have a very warm feeling about Kickstarter 'cause I think it's the best of what we can be. It's people who actually help out our fellow artists. We actually kind of go into our pocket for something. It's very rare.

I make the majority of my money from Patron, but my passion is with Paul Mitchell: I spend 85 per cent of my time on it.

Kickstarter has been such a heads-down thing.

One of the members of the group, I can't remember which one, found out we were making $3 - $5,000 a night. We were getting a hundred dollars a week a piece. Everybody got upset about it.

With Kickstarter, people are patrons of the arts. With Mosaic, people can be clean-energy investors like Warren Buffett.

We're kidding on that. One of the things I insisted upon when we went into this project was that we are full partners, going fifty-fifty, both on the money and on the say of what's going on with the books.

Jeron Lanier and 'Lawnmower Man.' That was VR. And there was the VFX1, that big giant VR prototype unit, and I was like, 'I am going to save my money and get one of those.' And then VR just sort of drifted away.

Yeah, well when I first started working, it was $5 a show; it was probably a little higher by the time I got to my own show, but I remember that they put me under contract at $100 a week, which to me was really an astronomical price.