You find your preferred resolutions and harmonic intervals and what-have-yous, and then you either keep writing the same thing until everybody is as bored with your songs as you are, or you try with all your might to get out of those patterns. This is what a lot of the work is all about.

I always have problems with seeing how our new stuff relates to our old stuff - I'm better at seeing long lines in other people's music than in my own.

We've gotten better at shooting down routine material or stuff we feel like we've done better in the past. Getting different people in the band for periods also keeps it from going stale.

I really liked Beyond The Valley Of The Dolls and a couple of others, but with these kinds of movies the best part is the 'talking about it over a beer afterwards' bit - and once is kind of enough.

Generally there are always a few things that get left off for some reason or other, although the criteria for inclusion vary from project to project.

We've known each other [in Motorpsycho ] since 1985 or '86, are really different as personalities, and yet have actually never disagreed to any degree. We are really complimentary as musicians and songwriters too, and come from two total opposites in our approaches.

When you've been at it for as long as we have, you go through fallow periods and blooming ones, and you know when you're on a roll and you learn how to keep it rolling for as long as you can.