If there is a record I don't have, I haven't heard it yet. My collection is always growing, but I can't really play it anywhere - no promoter is willing to pay for my crates of vinyl to fly with me, so I have a team of people to digitise it all.

I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that.

The type of mixing that was out then was blending from one record to the next or waiting for the record to go off and wait for the jock to put the needle back on.

All you have to know is mathematically how many times to scratch it and when to let it go - when certain things will enhance the record you're listening to.

I always wanted to be a film-maker when I was younger, not an actor. I was an eight-year-old who dreamed of being a writer on 'The Simpsons,' which was a weird dream to have. But I started taking acting classes as a way to learn how to direct actors and I sort of fell in love with it.

I worked with Jack Nitzsche for 'One Flew Over the Cuckoo's Nest,' and we'd booked a symphony orchestra. He dismissed them and came with a little man who poured water into glasses of different sizes to make a glass harmonica. And most of the music for the film was that - with some Indian flutes and some drums.

I would do a sort of violence to myself if I didn't express myself in the directly creative ways of writing, both words and music.

Life is possible only by the deficiencies of our imagination and memory.