What one does in the studio is to pose a series of problems to oneself. I've got to look for some deeper meaning, for some reason for this thing to be in the world. There's enough stuff in the world. ↗
Almost all the fans I meet are pretty cool people. They're intelligent and tend to think about things a bit more than your average rock'n'roll fans: sensible people I wouldn't mind having a drink with. ↗
Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87. ↗
After a couple of failed attempts, I came up with a weird tuning where I was dropping the G string down a step so that it became a seventh, and it got me to a place where I could play all these figures fairly easily. It was not an easy thing to work out. ↗
When I was a kid going to the movies, we'd go because Bogart was in the movie, or Cagney, or John Wayne. We didn't know what the story was about or anything. ↗
You can change a person's life in an instant; put him in a movie, and you start thinking differently, you want to be in another movie. It's like an addiction almost. ↗
I saw it as a challenge to play with Pat and we put hours and hours into it, usually on the bus. The trick was to find something that we both wanted to play within our different styles which would add up to being greater than the sum of its parts. ↗
