You cannot please everybody. You keep marching forward.

He helped my career, helped me basketball-wise and every other way. I'm a big fan of Thibs.

I read books by other coaches all the time.

John Wooden's books are great.

High school coaches sometimes are better coaches than I am.

The opportunity to coach Kerry Kittles I wouldn't give up for anything.

We don't get every kid. We get the ones we are supposed to get. It just kind of plays out that way, and it always has.

I gotta be able to sleep at night knowing that I'm being honest.

We should not go to a baseball rule. If a kid goes to college and, after a year or two, wants to go to the NBA and is good enough - and he grew, he got bigger, he got more confidence - let him go. Why would you now force a kid to go two years?

The problem with the NCAA - it's slow-moving.

Kentucky is the best job in basketball coaching. Why would I leave?

I'm going to continue to see my friends who coach in the NBA and see my former players who play in the NBA. I'm going to continue to go to games.

I've always said I have more money than I can spend, than my children can spend.

My life, even as a college student, has all been through the NCAA, and I'm telling you there's so much good that comes out of it.

If you win the conference tournament, it doesn't mean anything.

LeBron and I are friends.

If you don't deserve to play, you won't play.

I never thought Marquis Teague would leave after a year.

If they want to go to college and then leave, let them leave when they want to leave. Why would we force a kid to stay? 'Well - it's good for the game?' It's about these kids and their families.

I was small, but I was also slow.

I was a very average-at-best player.

I majored in business/marketing because I was going to be a teacher and a high school basketball coach.

At times, we, as coaches, try to shove guys as square pegs into round holes and keep hammering away.

Our feet are planted in the real world, but we dance with angels and ghosts.

The best things happen in the dark.

There's something cool about being a stealth classic.

I'm all for information diets, which are helpful for the mood and for the art.

We need punk now; we need it more than ever. We need rebellion by youth.

'Hedwig' was pretty much all the things I wanted to do that other people said I probably shouldn't do: drag, punk rock, stand-up comedy... You know, combine them all in a thing that's supremely uncommercial from the objective point of view.

Queerness isn't just Lady Gaga and overpriced drinks and fauxhawks. It's James Baldwin and Bea Arthur and Gertrude Stein and Gore Vidal.

Bob Fosse, even though he wasn't gay. He was certainly queer and had a huge effect on the 'Hedwig' film, as did Hal Ashby and Robert Altman, who had a weird butch queer feeling about him. His films almost flirted with camp but in an extremely realistic acting way.

I think I was scared of the drag thing, as a lot of gay boys are. It's sort of knocked out of you in junior high. I wouldn't find guys who were very feminine attractive. Then, doing 'Hedwig,' I got to be man and woman, really butch and really femme at the same time, and I realized, this is kind of the ideal.

I walk out of my apartment, and St. Vincent's is standing there like a ghost ship. That was the ground zero of AIDS in New York: a conservative institution that quickly adapted to its unconventional patients and made heroic efforts to try and save them.

If I wanted to make a lot of money with 'Hedwig,' I could have spent all my time on it. But that's boring.

Growing up, it was uncool to admit that your family had any money. And then, instantly, money was cool. In Reagan's parlance, it was about freedom of the individual, which was freedom to be greedy... individual versus society. There was a weird seduction in that, which I still feel.

Oftentimes, experiencing tragedy very young can strangely give you a kind of equilibrium.

I guess historically, drag queens were imitating movie stars and luminaries. It's kind of nice to have a movie star imitating a drag queen.

After the first 'Hedwig,' interestingly, I was offered to play Hamlet a couple of times.

I am just touched at how strongly the real Hed-heads feel. It feels different from other kinds of devotees; maybe it's the way I felt with certain bands when I was a kid. It feels like a band more than a play.

You're on Facebook, and you're supposed to know your sexual orientation at 13... Nobody really knows what's going on at that time, and people seem to... know stuff, or they have to act like they do, and they make decisions before they really need to.

Drag wasn't really on Broadway. It was considered low-class.

Hedwig is on a quest; she's on a quest as much as Jason and the Argonauts, as much as the boy in 'A.I.' She's looking for something. She's looking for her other half, and she's on tour. Monsters, Cyclops - maybe they're her mom? - appear on various islands.

Having been an actor in Hollywood for a certain amount of time, I always felt a pressure to be sort of a neutral person. 'Don't do anything to your hair. Don't tell them your age. Don't tell them you're gay. Don't tell them anything that could limit you, specify you as a person.' I always hated that, actually moved out of L.A. because of that.

My favorite playwright is probably Samuel Beckett, and he was always laughing at the abyss.

I like making art that's useful to people who have a harder road. Art is a tool to get through it; it's a tool to prepare for the worst. By envisioning it in an artistic context, you can make sense of it before and after it happens.

I like all kinds of input.

I actually came out the year that AIDS hit the front pages. So there was this mixed feeling about it - excitement that life's finally begun, but it was completely tied up with mortality and danger and politics.

I think as far as themes, 'Hedwig' is about what music meant to you as a kid and how rock n' roll can save you; that is definitely part of it.

I remember seeing a stage version of Plato's 'Symposium' and being really moved because it was written by a man rather than a culture.

New York is so unique, and you are not always encouraged to consider the people in the city your neighbors because of the fast pace and surface anonymity.