When I did 'Tapestry' with Carole King, the record was spare and simple, like a demo. If someone had told me to go back and put horns on it, it would've been all wrong. If you're enthusiastic enough to sign an artist, let them do what got you enthusiastic.

In making films, you're dealing with hundreds of people and a crew, but eventually, it's you and an editor, and that part of it, I liked it a lot. The experience on 'Up in Smoke' was great. I really enjoyed it.

I never had a particular sound. There was no Lou Adler sound like there's a Phil Spector sound. I always tried to make the records about the artists and their particular sound.

Surf music at the time that I did it wasn't mainstream, nor were the Cheech and Chong albums. The risk comes from having the ability to do something that hadn't been done before that I thought was either interesting as an art form or just should be done.

Saddam Hussein's trial would not be public since he could name countries and persons whom he gave money.

My children were taught at an early age how money works and that it comes from hard work. They've been on a commission - not an allowance - since they were little. They learned that if they worked around the house, they got paid. If they didn't work, they didn't get paid.

I don't feel very comfortable defending my fashion except to say that people don't have to buy it. You do have to consume. You have to live. If you've got the money to be able to afford it, then it's really good to buy something from me, but don't buy too much.

Shooting films in Britain is always difficult, because we've never got enough money to make them.