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Anton brings the camera. I'll bring a tuba, wear black, not shave, and take us to a burned-down Chinese restaurant. (On being photographed by his longtime photo collaborator Anton Corbijn)
When you say you're doing an opera, it's like when you're a seven-year-old and say, 'I'm off to Washington, Dad.' You kind of go, 'Sure. Sure you are, son.'
Francis Ford Coppola is completely unconventional. He has a strong sense of loyalty. Great eyes. It's a diabolical undertaking in terms of organization and leadership.
As a kid, I did want to be an old-timer, since they were the ones with the big stories and the cool clothes. I wanted to go there. Now, I guess I want to bring that with me and go back in time.
That for me is more important than anything when you're in the studio - to have somebody you can trust and who knows you, knows who you are and doesn't let you get away with anything.
There's truths there that spiral out of what appears to be just a word game. That's what I find mystifying about the meanings of things: they kind of unscrew themselves from the practical words.
When you're a kid and you're trying to find your own voice, it's rather daunting to hear somebody like Howlin' Wolf, because you know that you'll never achieve that.
I was a fireman. I lived in the fire station for about a year. The pay wasn't so good. It was kind of like being in the army, or what I imagine that would be like.
You almost have to create situations in order to write about them, so I live in a constant state of self-imposed poverty. I don't want to live any other way.
If you record the sound of bacon in a frying pan and play it back, it sounds like the pops and cracks on an old 33 1/3 recording. Almost exactly like that. You could substitute it for that sound.
I never looked at music as a serious venture. There was very little encouragement from my family. I didn't have anybody to entertain, so it was hard to get motivated.
It wasn't good for my nerves, that kind of work - a fireman. I've got high blood pressure. I get upset easily. I don't think that was a proper career alternative for me.
Most changes in music, most exciting things that happen in music, occur through a miscommunication between people "I thought you said this." Poetry comes out of that too.
What you want is for music to love you back. That's why you pay your dues. You want to feel like you belong and are part of this symbiosis, metamorphosis, whatever you want to call it.
If you're a writer you know that the stories don't come to you, you have to go looking for them. The old men in the lobby: that's where the stories were.