I made a record in 1996 called 'Animal Rights' that was a very difficult, very dark punk-rock record. Of all the records I've made, it's my favorite one. It's also the one that got the worst reviews and sold the worst.

In some of the greatest recordings ever made, the performance is a part of the recording. Dylan's 'Rainy Day Women No. 12 and 35' is all about the esthetic of that performance. You can hear the room.

Could you look an animal in the eyes and say to it, 'My appetite is more important than your suffering'?

There's an aesthetic theme, which is cities at two o'clock in the morning. Not cities packed with people going out to clubs and dancing but desolate, empty streets. It's off-putting but there's a strange comfort to it as well, that desolate urban environment.

If you're inclined to dismiss L.A. as a place of unrelenting vapidity and generic 1980s architecture, then you're doing yourself and L.A. a huge disservice, and you're just not looking hard enough.

I'd strike the sun if it insulted me.

For years, my mom dated a man who was really active in the Baptist church in the town next to the town I grew up in, and so he used to drag me to these Baptist church services that lasted forever. I remember that I didn't like the church services, but I really liked the music.