The family is very important. They make me feel good always because if I won, when I started to be famous, the relationship never changed with my friends and family.
Winning that first game was so important; my mother always said that the first game of the second set was the chance to keep it going if you were ahead or change things if you were behind.
I'm launching my own festival in South Wales. It's something I've wanted to do for a long time. It's going to be held at Margam Park, because I wanted the venue to be as close to my home as possible.
My mother is a special story. She went through so much to bring us up, four men at home, especially when our country was going through really difficult times.
I'm in hotel rooms night after night, playing a lot of the same venues as my dad and carrying the guitar that used to be his. We're the same person. I don't know if he realises how much of a legacy he has left to his children.
I don't really know any other musicians like me. I grew up backstage with my dad who played in a post-war dance band, so I always feel at home at a venue.
Stand-up came out of three things. Frustration, necessity and arrogance. I didn't have a great career ahead of me in anything. Someone literally said to me, 'You should try stand-up,' and took me to a venue.
A lot of the players are very complimentary about each other; they embrace at the end of matches because the level of the tennis has been so good. I think that's something that tennis has got to be proud of.
I loathe hecklers. I haven't got a good syllable to say. When you come out of the club circuit and into the concert hall, they should be gone. There's an element of manners that should tell you that the ticket is dear and it's a different venue.
I try to be myself and, of course, be a good role model. I don't really find it hard, but you think about what you do and that other people look up to you.
It's better to have done because then you know what the player is going through and you understand the pressure, but then on the other hand I know a lot of people that were good players but not good coaches, and vice versa.
There are some guys you have problems beating because of their style - I always had difficulties with guys like Michael Chang and Andre Agassi because their returns were so good and they played so well in defence.
I've always wanted to make 'Swamp Thing.' I like 'Swamp Thing.' I think it's a good idea, and I thought it would be a good venue for a 3-D movie, but there were rights issues with 'Swamp Thing.'
I haven't been in tennis for that long, but what I can say is that we have a lot of young guys at the top who are willing to do a lot of good things for tennis in general.
If you go to a big city anywhere in the world and you need a doctor, just ask me. I can tell you who's good and who's bad. I've even considered writing a guidebook.
I've thrown away lots of my old diaries - you never know who might get their hands on them. But I have kept a few notes on the good old days.
I think there's a future where the Web and print coexist and they each do things uniquely and complement each other, and we have what could be the ultimate and best-yet array of journalistic venues.
I have never experienced anything like walking out onto the stage of an oversold venue and, before the first note is struck, realizing that there is not going to be enough oxygen for all of us.
I like drawing people in the airport or on the bus or in venues. I like catching people in the moment. It's a similar inspiration for me in terms of songwriting.
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.
I still play jazz, and I've always got that trumpet very handy, but I'm coming to feel the classical venues are where my main focus is, in the realm of symphonic pops.
