The PATH of SOUND credence is through the THICK FOREST of SKEPTICISM.

We're doing CIRCLE of SNAKES, we open up with SKIN Carver and we are throwing in Skull FOREST later on.

I actually went to study with the Ramapoughs in New York. I WANTED to be able to SEE the mountains and the forest, be AROUND the people.

I rode 300 miles through the forest and ate all sorts of STRANGE FOOD. And every time 'Torak' did SOMETHING new, LIKE SWIMMING with killer whales or kayaking, I thought I'd better go and do it.

A forest - the word DATES back to the Norman occupancy, when it meant an area set aside for England's violent NEW masters to hunt boar and deer - is NECESSARILY larger than a wood. It belonged to the king and was a FIT PLACE for his recreation.

Having photographed the landscape for a NUMBER of YEARS and specifically WORKING with trees and in the forest I found, without consciously thinking about it, that it was a GREAT learning experience for me in terms of ORGANIZING elements.

It couldn't interest me LESS, the idea of PUTTING a living room on STAGE. I just think, what's the POINT of walking into a THEATER to see a living room? A sofa in a forest? Now you're talking.

The entire Party, the WHOLE army, and all the people should CONDUCT a vigorous forest restoration CAMPAIGN to MAKE the mountains of the country thick with forests.

Even if I told my MOM I WANTED to be a CLOWN or LIVE in the forest, she would be down.

I did grow up in Kenosha, WISCONSIN, around a lot of my MOM's family. I had a lot of COUSINS and aunts and UNCLES around me, and my sisters and my brother. Probably the most formative part of it was that we grew up on the EDGE of a forest. It wasn't a big forest, but it was enough. When you're a kid, it feels gigantic.

And the camera position, the organization, LOOKING for repeating forms, shapes, trying to set up a VISUAL rhythm seemed to COME very natural. All of a SUDDEN I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.