I remember Adrian [Maben, director] had lots of problems with red tape and dealing with stuff. I think we lost two or three days. Maybe those were the days we had to walk around the summit of Vesuvius, and we went around to the sulfur pits where the ground is bubbling. It's near here. It's fantastic.

If you have a live reputation and your popularity is proven that way, then you're bound to get signed up because they see all those people buying those tickets and they think some of those people will buy those records, and that's what their business is primarily about.

Adrian Maben came to us with the idea. And we just thought, "Well, why not?" I don't think any of us thought it would be as well received and last in people's minds for as long as it did. All credit to him. It's his idea [Pink Floyd at Pompeii] and it was great.

I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.

Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.

The old ways still apply. You can still send tapes to record companies, and there are record companies, you know, there are one or two of the record companies do declare proudly that they listen to every single one that comes.

If people would like to come to my concerts I'd love them to come. And if they like the music that I make, I love that too. But I do not make music for other people. I make it to please myself.