I have always viewed my role as a sort of ambassador or bridge between groups to help provide a dialog.
When I read Daniel Woodrell's novel 'Winter's Bone,' I was drawn to the characters, the setting, and the sound of the dialog.
To have compromise you must first have dialog. That is the true path of democracy.
I'm always going to use music, use culture as a tool to engage people to have this dialog, to enable others. That's very important.
I like that part of the culture of 'MST3K' is this constant dialog on what movies could be done and what movies should be done. I've seen plenty of bad movies and walked out afterward thinking 'That would have been perfect for 'MST3K.''
If you write interesting roles, you get interesting people to play them. If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.
It is interesting that both Chicano and Puerto Rican art in the United States form an important part of the Civil Rights legacy and dialog.
I've always been able to recount things, and I have a really good memory about dialog and what people have said before and this and that.
