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It’s very difficult to explain the effect the first blues record I heard had on me, except to say that I recognized it immediately. It was as if I were being reintroduced to something that I already knew, maybe from another, earlier life. For me there is something primitively soothing about this music, and it went straight to my nervous system, making me feel ten feet tall.

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I’ve been trying to make records and I describe it almost like a "movie for your ears" where it’s a little unconventional in its shape and form, but there’s something that’s intriguing in keeping you wanting to wait and see the next frame of film, except in here what’s coming around the corner for your ears.

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I don’t make records that way, where I’m trying to please the marketplace or anything. Not because I have anything against that, it’s just never been a part of my aesthetic, even when I was with the Pixies.

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I certainly have gotten caught up in the music business at various times in my life, mostly because you want to get along with whatever record company you’re dealing with. I don’t want to be flaky. I don’t want to be some temperamental, hard-to-work-with musician.

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Bob Dylan is quite a songwriter, and a great singer and musician. I won’t bother with comparing myself to him, but I will say that I heard his records at a very young age and I still listen to all his records.

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Sometimes you make a record that is what you want to hear. I’ve made a couple of those, idealized creations of what I wanted to hear. Then there are records that are what you feel.

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If someone thinks I’m a dickhead, fine, listen to someone else’s record, then. We’re not a totalitarian regime; no one’s forced to listen to Coldplay. It’s actually quite a compliment if you’re something that people can stand against.

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So I have probably 1,200 little bits of paper with notes, which when the Ambien really starts to kick in, don’t really make much sense. Say what you like about prescription drugs, but they do help when you’re sequencing a record.

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The feature film business, the studio film business, feels to me like there’s just nowhere else to go. It’s like a record that’s just skipping at the end, with the needle stuck in the run-out groove.

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[On Richard M. Nixon:] The Republican nominee would be far worse than another Eisenhower – he is Tricky Dicky of the first magnitude. His entire record is one of opportunism. I cannot feel that there is the remotest sincerity in him, and that clearly he would be the tool of the highest bidder, which is always ‘big business.

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As crises came up later on – "Oh, we have to compromise, and the record company wants to do this," I’d be like, "No, I don’t have to."

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I gave up music criticism because of the increasingly obvious conflict of interest. I couldn’t say anything bad about the records when I might be meeting that person’s manager backstage an hour later.

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Its very sort of spontaneous and organic, not a preconceived sort of jamming. Now we record everything, cause sometimes you’ll forget, you know, ‘what was that thing again?’ So we record everything.