My public life was so demanding that I wasn't doing the things that I deemed the most important.

Those were the things on my mind [stay healthy, take care of my kids and reestablish a relationship with the people], not career, money, drugs, sex, alcohol or fun. Not that there's anything wrong with any of those things, but they aren't in the film [Dream of Life], because that wasn't my life at the time.

When we got to the part where we had to improvise an argument in a poetic language, I got cold feet. "I can't do this," I said. "I don't know what to say." "Say anything," he said. "You can't make a mistake when you improvise." "What if I mess it up? What if I screw up the rhythm?" "You can't," he said. "It's like drumming. If you miss a beat, you create another." In this simple exchange, Sam taught me the secret of improvisation, one that I have accessed my whole life.

We imagined ourselves as the Sons of Liberty with a mission to preserve, protect, and project the revolutionary spirit of rock and roll. We feared that the music which had given us sustenance was in danger of spiritual starvation. We feared it losing its sense of purpose, we feared it falling into fattened hands, we feared it floundering in a mire of spectacle, finance, and vapid technical complexity.

Nothing is a hobby - each discipline is its own world with its own high standards. Of course, every artist has 'minor works' that they do, but I don't think I have any 'minor disciplines.'

Deep in my heart how the presence of you shines, in a light to last a whole life through.

I actually had another motivation for letting Steven [Sebring] film us. After I'd been out of the public eye for 16 years, lost my friends and lost my husband, some of my confidence had been undermined. Steven made the process of filming fun; I could pretend that we were in something like Don't Look Back.