What really takes me back is when I'm walking around the Lower East Side, because we went to so many places [there] - the bakery, a mannequin store, all these factories with mice running around. That also is very visceral and takes me back. Pool halls, tattoo parlors, all kinds of stuff like that.

When someone shuts down on you... There were a couple of times of somebody that was just unpleasant, and you can't get them to loosen up. It's this horrible spiral when it's on camera, because you're trying to get them to like you, to trust you, to give you decent answers.

It hit me that being hip was a full-time job, and I was only a part-timer. I couldn't hide forever that I liked county fairs, particularly the goat booth at the 4-H tent, or that I once spent a week with my grandmother at her house in the giant retirement community of Sun City, Arizona, and it was one of the most carefree times of my life.

When I hear the Spice Girls, yeah, all that '90s stuff, like Limp Bizkit. Dandy Warhols! Whenever I hear them, it takes me right back, because they were friends of the channel, too.

If I felt like not saying what was on the cue card, I would. We rarely did retakes.

Before M2, I really felt self-conscious about some of my choices, and I was slotted into a category. At Rolling Stone, I was the alternative chick, and that was just the way it was. That did break me open a little bit, and that was maybe its legacy. And it's a nice one.

And when I say [M2 was] lo-fi production, it was so great and grimy. I was used to that world anyway, because we shot in bars, we shot in thrift shops, we shot on the street. And the bars, they would have just opened, and still there was barf on the floor and beer. We certainly kept it real. It was a small crew.