I don't really do Japanese interviews. I don't think there's much call for me in Japan.

When I start to write a song, I initially fall into patterns and creative habits that are familiar, and because they're familiar, they sound convincing. It's important for me to not pursue those ideas, because I've already done them, but to find ideas that are different and feel strange to write and disconcerting to write.

The songs that I like are the ones that you can't visualize, that are just cries from the heart - those very straight, direct songs that make rock & roll music so wonderful.

There's that kind of song, "Whoah baby, I love you," which doesn't have a visual element, but a very strong emotional element, and these are the great songs to me - those ones that you put them on and they just make you feel great, or whatever.

There's always pain around. That's one thing you can guarantee in life - there will always be a surplus of pain.

Songwriting, I have to take myself away from everybody to do. It's an unsightly act.

Film seems to be a medium designed for betrayal and violence.