Time plays a role in almost every decision. And some decisions define your attitude about time.
The only reason we wore sunglasses onstage was because we couldn't stand the sight of the audience.
I never use the word, it's loaded. What love means to me is need.
I like what the future holds. I don't like thinking about the past.
When somebody grabs a movement, you're kind of locked into it. It's all par for the course.
I want to get lean and mean, keep it minimalist.
The avant-garde makes more sense to me.
If I'm interested in what I'm doing, other people will be interested in it.
What I enjoy most about being on stage is that the natural instruments give you a greater freedom with texture. When you use natural instruments they have their own resonance.
In cities like New York and Austin, there's much more of a social context for music than in other places.
That's what my life is, writing songs.
The value of having a computer, to me, is that it'll remember everything you do. It's a databank.
Even if you're improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.
Growing up in Wales was a pretty Draconian experience with religion.
I learn from thinking about the future, what hasn't been done yet. That's kind of my constant obsession.
I missed out on my teenage years. I led a sheltered life. I was practicing scales instead of playing football.
I'm content with making records, but I don't want to be doing the same thing all the time.
I'm impatient. I get twitchy. When I get that feeling I just go out and make something happen.
I'm writing a movie about Mozart going to New York in the '60s. I've been reading so many novels.
If you're all loaded up on love, you haven't got anywhere else to go.