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I decided to make pictures of fragments, images that would spill off the canvas instead of recede into it like a medicine cabinet. I wanted to find images that were in a 'nether-nether-land': things that were a little out of style but hadn't reached the point of nostalgia.

I decided to move out of the apartment I was sharing with my best friend before graduation and move back home. My parents had recently separated, and I wanted to move back home with my mom and my siblings.

I decided to not be so dismissive of my music in favor of my acting. Acting has been such a consistent thing for me; a lot of times in the past, I wouldn't have had the confidence with my music to really make it a part of my schedule. I would easily push it to the side, or I would easily take up time that was needed for it.

I decided to pursue graduate study in molecular biology and was accepted by Professor Itaru Watanabe's laboratory at the Institute for Virus Research at the University of Kyoto, one of a few laboratories in Japan where U.S.-trained molecular biologists were actively engaged in research.

I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George Dunning, who animated and directed 'Yellow Submarine,' and they'd got their hands on the last scene, the triptychs. They just showed that part, without music and with the projectors misaligned.