I did 10 years of comedies and 10 years of Westerns. I really like to stay away from car chases. I prefer the more intimate film. You have a much more direct association with the emotions.
It's not a case of 'look at me in my car'; it's more, 'look at the car'. I like the idea of other people enjoying them, because everything has become a bit faceless and nobody likes the motor car any more.
I want a car that will last 10 years or longer because I totally hate the process of researching, shopping for a new car, and then haggling for the price. I wish I could just snap my fingers and my car is there.
I just completed a tour in Europe. I played every night. This requires traveling some days for six hours in a van or a train or a car. After six weeks of that, I checked into the hotel and just fell apart.
I never thought being the producer was being the dictator. It means being the director and being the coach. It's a way of keeping everybody focused on the goal, and also having final say. Everybody can be in the same car, but somebody has to drive.
When I leave the car park at Melwood, I try and become a completely different person. I try to get away from it. You have got to. Otherwise you end up like Jamie Carragher - obsessed!
I had a very thorough grounding in music; I'd grown up around songs. My parents listened to a lot of music. My dad was majorly into jazz, which was absolutely a big influence on me, even if it was more subconsciously as a kid.
I became a musician because I love music, and that is what has sustained me; it's not because I thought it was a great way to make a living. Music saved my life.
When music is crashing around us, when you hear the same five songs on the radio that aren't really saying much, we can always go back to great music. Great music always lives on.
You can always tell folks from nonfolks. Folks like to feel good, like to smile for the camera when there's a big photo opportunity for a really good cause.
I really do love bluesy-jazzy music, so I love Etta James, B.B. King and Billie Holiday. I love that they have soul in their voices - I think that's something important is having.
But that kind of falls in line; when you think about it, James Brown was a funk minimalist. All of those parts create a sum that's larger than than the individual parts.
So it's really hard for a horn player to comp. But I'm totally into trying to switch those paradigms around and find a little magic space where that works, and try to mine that.
To me, the object of practicing is to allow you to play what you hear. But you're always hearing new things, so you never get to the end of it.
I tend to play in a way that feels natural to me. To me that's authentic for myself. I play by where I'm led by some sense of where I feel I'm supposed to be.
I think, in a lot of ways, it's easier to play a smaller room. You can exploit the quieter dynamics you would shy away from in larger venues.
Nothing was a style first. Everything started as an idea. A guy did something with an idea. Someone copied him. Some copied all of them and it became trendy and then it became a style.
The smile on your face lets me know that you need me, there's a truth in your heart that says you'll never leave me, and the touch of your hand says you'll catch me whenever I fall.
I've never wanted anybody to like me because I had long hair or short hair, or that they liked the way I dressed or they liked the way I dressed or they liked the way I smile.
Ultimately, at the end of it, it's just trying to get into that space where you feel like you're hitting the right thing and you're making music. And it feels intuitive rather than being counterintuitive.
I try to get the hip-hop aesthetic, most times without an MC. I don't use a rapper or a DJ to give it the hip-hop style; it's strictly the band that makes that music, which is a lot harder to do.
