People that were in my life for a long time turned sinister and tried to control me, and all kinds of weird stuff happened. But there was no conscience involved; that threw me more than anything.
And if I would have taken lessons I probably wouldn't have done it, and what forced me to do all this weird stuff on the guitar was I couldn't afford effects pedals, I didn't have all this stuff when I was a kid so I just tried to squeeze all the weird noises I could out of the guitar, which brings me to building guitars.
When I'm home on a break, I lock myself in my room and play guitar. After two or three hours, I start getting into this total meditation. It's a feeling few people experience, and that's usually when I come up with weird stuff. It just flows. I can't force myself. I don't sit down and say I've got to practice.
I wasn't interested in going to the school dances. I wasn't interested in going to the football games. What I wanted was to be in my room painting my walls and doing weird stuff. That's what I wanted and I got to do what I wanted, so that, to me, is my high school experience.
David's [Cunningham] a very interesting character. He has more integrity than is good for him. So, everything he did after that sort of undermined what he'd done. Other people who kind of took life more cheaply, would have really gone for it. David almost did everything he could to scupper the whole thing, which I very much admire, but of course it was deeply irritating then, because we wanted to make a bit of money! So we made this very catchy tune and then he added a bunch of weird stuff which was all very strange.
For example, you go to Fuji, and there are no animal attacks. Why? And I think that gets you into the world of "The Walking Dead" or "Lost." Humans start doing some weird stuff.
I know as far as things like the Thunderbirds, there's a New Zealand connection. X-Files, my connection there... I mean, it could be zeitgeist. I mean, I'm into the paranormal. I have a podcast about cryptozoology. So it's out there that I'm into weird stuff.
I'm never trying to be commercial or accessible, or saying "let's do this weird stuff, but at the same time we gotta do this safe stuff".
No race or civilization of people are just going to say, "Oh, instead of using real meat, let's just mash up a bunch of lymph nodes and put a bunch of weird stuff in it and pack it up in plastic cans and plastic bins, and let's eat that way. That'll be great." People don't choose that.
I haven't been walking around for years with some burning desire to do a solo record. If I had, maybe I'd have made a record that was experimental. Usually, the idea of a solo record is to get some weird stuff out of your system, but I don't think like that. I wasn't interested in making something that was a hard listen - maybe I'll get around to that some other time. I wanted it to sound effortless, not like I was trying to reinvent the wheel.
This was an era where I was going out every night seeing Sparks, Berlin, Duran Duran, and Split Enz. Amazing acts doing really weird stuff, and I was very open to music and letting it transform me.
Josh [Gad] is such an amazing improviser and is so good when the material is flowing from him that sometimes, if a written scene isn't working quite right, I'll tell him that we've got it and that he can just play. He'll blow us away with some super weird stuff and some wild things that we might use bits and pieces of in the edit, and then I'll say, "Just for good measure, let's do one more of the scripted version."
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