It's amazing when you find a photo of your grandparents when they were young because it's black and white and the care that they put into their appearance back then was so grown up and specific to that era.

When I stopped touring, it was like trying to stop a bullet train or a giant lead ball falling from a 100 stories up - it's momentum and it doesn't just stop. I drew a line in the calendar and made it a brick wall and just stopped dead. There was no other way. It would've taken another 100 years to slow down slowly. I had to let myself imagine a calendar with no lines; when every single day is being predetermined six months in advance, there's no more fluidity to time.

Now, there's just so much imagery. Imagine what our grandkids are going to be able to see of us?

I've always been a bit wary of keyboards because there's an invisibility to it - you're not really hitting anything.

You hit a guitar, you hit a note, you hit a drum, you hit an organ. Meat and potatoes. Simplicity. Not getting too caught up in little tweezers of perfection.

For me, the best part is people who watch the movie and tell me it inspired them to collaborate with their friend who's a photographer or filmmaker.

There's real potency in metal. Metal fans love metal as if it's a nation they would fight for. It's not diluted by pop culture.