I think most great actors have their own life trajectory, the character motion doesn't have anything to do with their life motion.

I don't like the idea of being surrounded by hidden things; people you can't see in buildings and cars.

Venues are all the same, all feel the same, these generic blank spaces. I like artists like Lightning Bolt-bands that go in and kind of change things every time, play on the floor, set up in the middle of the room. They go in and they reinvent the space every time, which I feel is like the kind of thing that should just be happening.

I don't know the reasons why something is intimidating to me or disgusting to me and I don't like feeling that way, either. I don't like it when something turns me off, on any level. So, its a matter of saying: Well, I can either sit here and reject, or I can do double-time embracing of something else just to reassure myself that I'm not against the world.

I figure it's okay to make certain rules, whether or not people despise you for it at the time.

I valued the experience of making the recordings, and I value the performances contained therein, and I value so much of what they can represent. I also think they're a terrific listening experience. Putting them out this way was a way of trying to maintain and nurture the relationship with the audience and also shine a light on the recent past, because we are so apt to be forgetful as human beings that there was such a thing as a recent past. These are some of the reasons for making this record.

As far as implying that we know what we're doing, that we have perspective enough - by diving fully into something it requires a lot of denial, and denial is always dangerous even if all of your intentions are good and all your preparations are good. When you make a choice you're denying an infinite number of other choices.