I've had at least a couple botched surgeries.

To me, the stage is like the free zone. That's what makes it exhilarating. For whatever reason, there's this weird little square where it's kind of a romper room for adults.

There has to be an element of danger, or at least an element of intrigue, for a band to be interesting.

Legacy is something you talk about when you're dead - and I'm not dead yet.

Relationships are complicated - put it that way, okay?

Hearing other peoples' interpretations of your lyrics, to me, is just a total kick in the pants. Half the time, they're better.

I'm not some young tough guy trying to prove a point anymore.

Being able to have a home studio is the greatest thing ever.

I write lyrics based on music, on a musical flow, and what sounds good at the time.

I always forget about some of the things I've done, because you do 'em, and sometimes they don't come out, and... most of it's almost like daily chores or something. You check it off your list, and then it's gone.

I'm not in the business of suffering.

You can get bored up there on stage, night after night. But it's an open forum where you can get away with almost anything, so you might as well do it.

Touring is a weird thing. It's like getting married to four different people.

I've had the new band experience plenty of times, and sometimes, it just sort of peters out.

I'm not a trained musician.

In earlier years, I was more of a clown with a big bag of tricks. I'd show up in the studio and kind of go, 'Well, what do you want? Do you want the screaming banshee or the howling owl?'

With Faith No More, even though we're a bunch of old men, what I remember about our best shows is some sort of confrontation with the audience.

I had never been taken in like I was in Italy just by saying a few words. That made me feel like I had to put in the effort, and I want to be one of them.

When you do live abroad, you're basically searching for some kind of peace.

Everywhere you look, there's someone doing your thinking for you and telling you what to think and when to think of it.

I saw G.G. Allin live once.

The career high would be putting out a Kids of Widney High CD on my label, Ipecac Recordings.

I'm surprised that anyone cares about what I do.

If I admire someone's music, I'll walk up to 'em and tell 'em.

I think that first and foremost, a lot of turntable artists end up using really the same sounds over and over, and they really get recycled.

Especially with Fantomas, i'm just trying to stretch out what the band can do. Figuring out, really, on the job or on recordings, what I can or can't get away with.

When you have to put on shades in the studio, you know you have to stop.

You don't want to eat haute cuisine all the time; it's not healthy.

Having my own label, I have to look at things in a realistic, bottom-line manner.

I am perfectly aware of my position in commercial music.

I would like to do more film scoring, period. Whether it is a big film, a small film, or just anything. I feel like I have a lot to learn, and what better way to do it than on the job?

I don't like to use toilets - ever.

Acting is even stranger than I thought it would be.

If they're acting like a dog, sometimes you're forced to treat people like dogs.

I don't actually read that much. I like movies a bit more. That's how I come up with ideas - by seeing things, hearing things, recycling things. Stealing things!

When you're young and creative, you don't know how to channel all that creative energy, so sometimes it goes to the wrong places.

I create a guise or a band that I can operate within, and within each one of those bands, I've got an M.O. or a set of rules and parameters I can work within.

It feels really good to be the bad guy, and 'The Darkness' is as bad as it gets.

I got a PS3 and a PSP. The Wii looks fun.

If I'm not happy with the quality of something I'm working on, I won't put it out. That does not mean that others won't question the quality.

Sometimes a certain project will have a smell... It will have a little stench about it. That is a warning signal. You know it's going to be a nightmare. You know they are not going to like it, and it's not worth it.

I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.

As an artist, I would never let myself get boxed in. I'm a human being, too, and like most humans, I have interest in many different types of music.

I am constantly amazed at the musicians that are able to do the same thing over and over for 20 or more years. That would drive me absolutely insane.

From what I've heard, videogame soundtracks - obviously, there's less budget and all of that - it just seems like game soundtracks are farmed out among friends. And it seems like more of an afterthought. It's a videogame. It's much more background.

To me, finding sounds, or even recording, is a compositional process. The studio is kind of an instrument.

Orchestral musicians have a different approach than we do, and when I say 'we,' I mean musicians who don't know what they are doing.

My wife is Italian, and I lived there for six years.

Conducting is way over my head.

I don't get too much enjoyment out of sitting around the campfire and looking at old photos. That's just not me. I don't get the thrill of doing that. So, I don't sit around listening to my old records.