I consciously did not want to put a sub-Mr. Bungle band on the map. I don't think the world needs that.

The music should speak for itself, and hopefully it will.

There are reasons that bands and musicians make demos and outtakes - because they are not good enough to make the record. A lot of people forget that.

I have a big mouth.

Everything with Peeping Tom is kind of a guessing game. It's constantly exhilarating but also exhausting.

There are so many ideas that I have in my mind, of projects that I would love to tackle, people I would love to work with, genres I would love to experiment with, and sounds that don't fit any of my previous projects that I need to find a home for.

I remember playing with John Zorn and Ikue Mori in Taiwan in a school classroom. There were, like, 15 people there, maybe, and they were sitting at the classroom desks, and we played under the chalkboard. There's no difference between playing that and the 'download' festival.

The only way I can make sense of my music is to compartmentalize it as opposed to having one band that I have to throw everything into. For me, it's just more fun and more challenging to create little worlds where a song or a piece can make sense.

I like the cut of my gib. I dislike the way I move.

I don't read or write music in the traditional sense, so I have to figure it out on the fly while I'm in the studio.

My fear is getting stuck doing the same thing over and over.

I think you create your own boundaries, and you work within them.

When you come into a pre-existing situation, you gotta have your own thing going. You gotta be really strong about it, and you gotta look at the older material in an aggressive way - 'I'm gonna make this mine somehow.' You need to put your imprint on the situation that you're in.

I'm a little tired of travelling the world, jaded as that may sound.

A lot of people assume that musicians are comrades by nature. It's cutthroat like anything else.

Not all ideas are like a twinkling star in the sky, and you get inspired to make a record the next day.

I really don't want to put more than a couple of records out a year, and I think that makes sense - on an artistic level, but also for my label.

Some artists can work under one guise, whether it's a name or a band or doing film soundtracks, put all of their ideas in one pot and move on. Me, I need to compartmentalize.

Forgive me, but Wolfmother, you suck!

In a way, sometimes collaborating is more difficult because you have to listen.

The creative process for a musician is very different than for a filmmaker. I have an idea, and I can pretty much execute it.

I grew up in a really small town.

Movies were, to me, like a way out. It was an escape valve. I remember having my parents drop me off at movies all the time.

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.