I play like I play. You hear it on 'Celebration Day.' It's pretty good for a one-night shot.

'Communication Breakdown' - it was punchy and direct, with a real attitude that was different to other bands going around.

I'm involved in all things musical. It's all consuming, even if it doesn't necessarily manifest as a record or a concert.

I consider descending chromatic lines and arpeggiated chords basic skills learned by any student of the guitar.

I do not recall ever seeing Spirit perform live.

When I was still in the Yardbirds, our producer, Mickie Most, would always try to get us to record all these horrible songs. During one session, we recorded 'Ten Little Indians,' an extremely silly song that featured a truly awful brass arrangement.

Right from the first time we went to America in 1968, Led Zeppelin was a word-of-mouth thing. You can't really compare it to how it is today.

I can understand why we got bad reviews. We went right over people's heads. One album would follow another and would have nothing to do with what we'd done before. People didn't know what was going on.

You get a chance like that maybe once in your lifetime, and you are lucky to sustain it over that period of time. It doesn't mean to say that whatever I do in the future has no substance to it - I may present some new material I've got, and there are definitely new angles of doing it - but I'm not looking to recreate another Led Zeppelin.

I would say New York, Chicago, Memphis, and Los Angeles were my favorites.

I really love playing live - it's such a gas.

I think it was that we were really seasoned musicians. We had serious roots that spanned different cultures, obviously the blues.

But to put out a greatest hits on one CD was totally impossible, I just couldn't do it. The best compromise was to put out two CDs - Early Days - which is what it is - and Latter Days.

Almost the moment he died, they put him in Playboy as one of the greatest drummers, which he was - there's no doubt about it. There's never been anybody since. He's one of the greatest drummers that ever lived.

I really don't listen to Led Zeppelin that much.

I do know there's a lot of music where Led Zeppelin has been leant on. We didn't do anything about it. And I wouldn't want to, either.

I seem to have tireless energy when I get involved in things, on an almost OCD basis, which is a good way to do things because if you're gonna do something, you'd better make sure you do it well.

If I'm going to put my image into something, I'll put my image into something that I actually feel like I'd like to do.

Listening to John Bonham is just a sheer celebration of his playing - it can't help but fill you with so much joy.

I prefer to hear an artist's work and what they can do, so as far as I'm concerned, I'd get a lot more out of a collection of songs to be able to understand what the musician is doing.

In the Led Zeppelin shows of the Sixties and Seventies, it was the same numbers every night, but they were constantly in a state of flux. If I played something good, really substantial, I'd stick it in again.

I wanted to emulate music from America - young punks playing rock n' roll is what it was. I read part of Keith Richards' autobiography, and it was totally parallel with me, learning from American records.

I don't really know anything about sales figures, to be honest with you.

I don't think drums had ever sounded so big until Led Zeppelin's first album.

Led Zeppelin isn't done yet, quite clearly, because every year since 1968 there's been new fans.

The re-releases have more than doubled the amount of Led Zeppelin work out there. I wanted it done authoritatively, 'cause I was the one writing the stuff; I was the producer and mixer. I don't think it's any more weird than writing your autobiography.

We were lucky in the days of Led Zeppelin. Each album was different. We didn't have to continue a formula or produce a certain number of singles. Because, in those days, radio was still playing albums. That was really good.

We weren't making money in the Yardbirds.

I was really competitive with myself.

Led Zeppelin wasn't a corporate entity.

I have no tattoos at all - it was a huge undertaking for me in the '80s to let my parents know I was piercing my ear when I did 'L.A. Law.'

My career aspirations as an actor have always been driven foremost by the creative desire to be versatile.

I am a firm believer in education and have worked very hard to tell young Latinos that they must go to college and that, if possible, they should pursue an advanced degree. I am convinced that education is the great equalizer.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

It's less about the physical training, in the end, than it is about the mental preparation: boxing is a chess game. You have to be skilled enough and have trained hard enough to know how many different ways you can counterattack in any situation, at any moment.

It's great to be able to play the 'bad guy' role, because you always get a lot to do, but I'm always looking at the why - how does a person get to that particular point.

Nude scenes aren't fun.

I was in Puerto Rico going to school, and it was very jarring for me. 'Traumatic' is the only way that I can say it. Kids were making fun of me: 'Oh, you're a Yankee.' And I acted out a lot. A lot. But looking back, and through a little bit of therapy, everything I am has to do with that time.

I know it affected me when I saw certain actors growing up. I had a drama teacher that would take us to see plays in New York, and it was seeing James Earl Jones and Raul Julia - I mean, this guy comes from the place my mother comes from. He's doing Shakespeare right now, and it doesn't seem to matter that he has an accent.

I think education was the key for me, and that's what I tell kids. That base in the classics gave me something to springboard from, which I wouldn't have had if I'd come out to Los Angeles early and been guest punk of the week on 'Hill Street Blues.'

What happens to George Clooney and Bruce Willis is great, but I can't gauge my career by anyone else's.

It's a lot of a workload doing an hour dramatic show. It's just incredible what little time off you get.

'West Wing' was a show about politics.

I get my jolt of energy in New York. I get mi familia vibe in New York.

As an actor, I just want to keep mixing it up.

Growing up in New York, we lived all around the city depending on our economic circumstance. I also lived in Puerto Rico for a number of years.

I almost feel like sometimes when I'm on location, you miss your home and your family and all that stuff, but it keeps you focused on the work.

Women think the people that I play are smoldering and dangerous. I look in the mirror, and I go, 'I don't get it.'

When I sit down and sign up for something, I vet where the people are coming from.

Everything in moderation, like calories.