"I didn’t know George at that time. I got to know George because of Dave Edmonds. I did a song with Dave Edmonds in Holland because I was doing an album over there – an ELO album – and he rang me up and said, ""do you fancy writing a song for me and I’ll come over while you’re there and I can sing it?"" So he came over and we recorded this track together and he played this big six-string bass. We recorded it, finished it and a few weeks later we’re having dinner, finished dinner, went our separate ways and he shouts down the street, ""by the way, I forgot to tell you: George Harrison asked me to ask you if you’d like to work on his new album with him!"" I said, ""what do you mean, 'by the way'?"" [laughs] As if that shouldn’t be the first thing you’d say over dinner! But that’s what happened. I got invited to George’s and I went there, we got on great and we went to Australia to the Grand Prix together to see if we were going to be pals. And we were. We were great pals and we got on great and we worked together for about 13 years or so. I love Cloud Nine because it was my first outside production that I’d done; it was a big album. And producing a Beatle wasn’t lost on me. It was like, “fucking hell! This is good, this, innit?” You know, it was great because I’d just had a year off and playing in my own studio in England and learning to be an engineer, believe it or not. I’d never really mastered engineering; I’d always been a producer and always had to tell the engineer what I wanted because I couldn’t do it myself. I taught myself how to do it myself and I was much more in tune with all the knobs. You know, I knew exactly which little tweak I needed to do because I’d been there doing it in my own studio for about a year."

"It’s the first Fellini film I ever saw, so I think it’s my favorite. My Italian relatives always told me we were distantly related to Fellini—not sure if there is any truth in that, but that’s one of the reasons we went to see it. “Oh yeah, he’s our cousin,” they would say. Growing up with Italians, you see that life is absurd: it’s a circus, with some sex in it, and Amarcord simply confirmed that for me. I can watch this movie again and again; it’s that enjoyable. And although some scenes are over the top—and yes, Fellini is obsessed with big-bottomed women and very large breasts—it’s a movie about his childhood. And by learning about his childhood, I learned to appreciate my own. When I was young, I spent every summer with my Italian relatives in Astoria, Queens. Here’s what I learned: every day is a drama, and it all ends with everyone laughing and drinking wine and eating spaghetti. There was an unbelievable tale to be heard about every third cousin. Somebody would whisper, “That’s Rose—the day her mother died, her face froze into a scowl. And that’s why she looks like that.” We never questioned these things. Listening to stories was part of the immigrant experience. Amarcord feels that way. Fellini is telling stories about people in his village, but I related to all the stories. This was a movie my Italian relatives took me to, that they wanted to see so they could see themselves and laugh. I think that by watching how much they enjoyed the movie, I began to understand and appreciate my own culture for the first time. Watching Amarcord was also the first time I experienced the music of the great Nino Rota. When you think of Fellini, you always think of the music, which acts as the perfect bridge between the stories. I challenge anyone to see this film and not want to make love. Amarcord means “I remember.” You will remember."

"It’s the first Fellini film I ever saw, so I think it’s my favorite. My Italian relatives always told me we were distantly related to Fellini—not sure if there is any truth in that, but that’s one of the reasons we went to see it. “Oh yeah, he’s our cousin,” they would say. Growing up with Italians, you see that life is absurd: it’s a circus, with some sex in it, and Amarcord simply confirmed that for me. I can watch this movie again and again; it’s that enjoyable. And although some scenes are over the top—and yes, Fellini is obsessed with big-bottomed women and very large breasts—it’s a movie about his childhood. And by learning about his childhood, I learned to appreciate my own. When I was young, I spent every summer with my Italian relatives in Astoria, Queens. Here’s what I learned: every day is a drama, and it all ends with everyone laughing and drinking wine and eating spaghetti. There was an unbelievable tale to be heard about every third cousin. Somebody would whisper, “That’s Rose—the day her mother died, her face froze into a scowl. And that’s why she looks like that.” We never questioned these things. Listening to stories was part of the immigrant experience. Amarcord feels that way. Fellini is telling stories about people in his village, but I related to all the stories. This was a movie my Italian relatives took me to, that they wanted to see so they could see themselves and laugh. I think that by watching how much they enjoyed the movie, I began to understand and appreciate my own culture for the first time. Watching Amarcord was also the first time I experienced the music of the great Nino Rota. When you think of Fellini, you always think of the music, which acts as the perfect bridge between the stories. I challenge anyone to see this film and not want to make love. Amarcord means “I remember.” You will remember."