Signing to a major, there weren't many bands from our sphere that were doing it. I mean, obviously R.E.M. had done it, and Husker Du and the Replacements had done it, and maybe Soul Asylum, but that was probably about it. Those four bands were pretty much the only ones from that milieu that had signed to a major.

I guess I see 'Goo' half as a really New York record because I think there are a lot of really particular New York references on it, but I also see it, for us, as the first of our records that really opened up to the larger world around us.

'Europe '72' was a super influential record full of fantastic songs and amazing experimental musicianship. I always valued both of those aspects in what Sonic Youth has done through the years - being able to get very abstract and very concrete within the same song.

When I was in the first years of university, I fell in more with the visual arts crowd because it was more interesting than where music was.

'Europe '72' came out right around the time that I started going to see the Dead, and it had a huge impression on me.

By the time Sonic Youth formed in 1981, my musical tastes had left the Dead behind, but I was always very proud of the fact that we had three different singers singing individually from different points of view, like the Dead.

I've always been an acoustic guitar player, and I've pretty much continued to play acoustic guitar throughout all of the Sonic Youth periods. My material for Sonic Youth often started on acoustic guitar.

Sonic Youth has a very democratic process for the most part. It almost doesn't matter who brings in an initial idea; everything gets worked over by the band and kind of co-written by everyone in the end because everyone's ideas get contributed to it.

I really liked the Jean-Luc Godard movie, 'Film Socialisme.'

We're not really an underground band anymore, and we're not a mainstream band, either.

There is still nothing under the sun quite like a Grateful Dead concert.

Every band runs its course.

I gravitated to New York City in the late '70s to pursue a career in visual art, which is what I trained in at university.

As a rock fan, you read of the big labels and the multinationals and the big tours with road crews and semi-trailers full of gear, and playing stadiums. In the '90s, that's what we did.

Sometimes, you don't know where your inspiration's going to come from.

We'll go in one direction with one album, and then we like to do the opposite right away. But it's not like we ever have an idea before we start - that would be too artificial. It all starts from just sitting in a room and playing.

I don't know what the vintage Sonic Youth sound is.

As far as we're concerned, we're always Sonic Youth, and we're always making a Sonic Youth record. We just see it so much more as a continuum than a periodic thing. We're just in the studio making the next record, and we don't relate it to anything other than what's going on at the moment.

We find that the more you talk about it, the more you head off any spontaneous inspiration that might happen.

Probably the most fun thing we do in our lives is getting up on stage.

One thing I always hated with CDs is when people started putting 65 to 75 minutes on their albums.

I'd rather have vinyl and a download code than a CD any day.

Sonic Youth was not a singer-songwriter band. It was an electric collective. And, whatever else people's perceptions of Sonic Youth were, it was always about putting together a time-based composition - and that is exactly what songwriting is, in its classic form.

During the whole time in Sonic Youth, I was happy to put my energy into that. It would have been very difficult to do a solo project.

Sonic Youth could never really get it together acoustically - quite frankly, it wasn't something we were really that interested in.

I've always played acoustically - it's how I learned. I grew up listening to Leonard Cohen, Joni Mitchell, Neil Young, Dylan and what have you.

In the week following Sandy, we weren't flooded, but we were without everything else - I ended up living by candlelight - no phones, no computers, no light, no power. If we took a walk at night to go and find something to eat, it was completely black, with no lights coming out of the windows, no street lights: a very apocalyptic feeling.

I've been lucky enough to be in this amazing band, and to me, a band is really a collaborative unit, and that's definitely been what Sonic Youth has been.

I have nothing against change or evolution, and I'm not one of those people who wants the city to be what it was 40 years ago or whatever, because that's not what New York is, really.

I always think that, for me, being someone who comes out of electric guitar experimentation, the idea of playing acoustic guitar is, in itself, kind of a radical move.

New York always has a lot of creativity going on.

You don't work in isolation anymore. Anybody can write a song and put it up on the Internet the next day.

To some degree, I consider myself a writer, and so I have a strong relationship with literature.

Sonic Youth has always been the vehicle for my writing, you know, because it's a collective songwriting entity: we write our songs as a group.

One of the key guitars in my career has been an early-Seventies Fender Telecaster Deluxe that I had before Sonic Youth started and that I played pretty much throughout Sonic Youth.

We got our first significant pieces of press in the 'New York Rocker' from early gigs at CBGB.

I absolutely love Las Vegas. I've been there a bunch of times on my own.

We always operated within a sense of community not just about the band. It's important to the way we define ourselves. It's the entire world in which we operate.

The Strokes will never get anywhere after that first record.

The writing process is the time where nothing's been set in stone. It's a blank slate, or a blank page.

Upgrade' was a hard one to make.

I felt the violence in 'Upgrade' was necessary because I wanted to show what a computer was capable of.

One of the most crucial aspects of a haunted house movie is the fear and disbelief of the characters, because they don't know what's happening to them.

You might not have the biggest budget or resources or cast, but if you have a great story, people will latch onto it.

In chatting to directors over the years, including James Wan, they always tell you the war stories. No one ever says, 'Oh, I had a great time on that film.' It's always this went wrong, that went wrong.

Like everyone else, I use my phone a lot, and being a screenwriter, my laptop is my life.

You know you've have a good idea when you're lying awake at night going 'someone else is going to take it, I just know it!'

Saw' definitely had an edge to it that wasn't American.

The great thing about horror films is that they work on a low budget. The genre is the star. You don't need big movie stars, and I actually think a lot of times that the best horror films are the low budget contained ones.

Certain stories need the resources of a studio. If you're telling a story about a giant robot war in outer space, you're going to need the money and the resources most of the time to do it justice.