"The appeal here is exactly what we were talking about with the last song - it's just pure rock and roll and it sounds so good. It's what I call 'lake music'. I don't know if you guys go to the lake out there, but in Texas, that's what we'd do. The lake was about twenty, maybe twenty-five minutes from my hometown, and the whole way there, you're blasting exactly this kind of music - loud, raw, uncompromising rock. I love anything that makes me feel that way. There's nothing subtle about this track; those massive ringing chords that it begins and ends with? Come on, you only have to hear the chorus once before you know it, but I still love the lyrics - what a great way to write about a place that you loved, but have left. ""I'm Detroit bored and razed / but these days I'm living with another."" That's so well put."

"Come on, 'Another Piece Of Meat'! What a great song with a cool solo. And 'Lovedrive' itself has such a great attitude. When you listen to Klaus Meine's lyrics on this record, they were probably the coolest of all of theirs. When you gravitate to love song-type lyrics, you run the risk of alienating part of your fan base if you go there too much. Not a lot of guys want to be hanging out and lifting weights to love songs. A song, to me, should be something that makes you want to fight or have sex. It should make you feel so charged that you need to let it loose. Visually, from the second you looked at the cover, you knew it was dangerous. Virgin Killer went a little too far maybe – a little too gnarly. But using controversial artwork to help sell your album when your music is that fabulous… I'm all for that."

"It’s so funny, I was literally laughing out loud. I heard it was on Quentin Tarantino and Ed Norton’s list of top movies ever of all time, and I didn’t even know what it was. I’d never heard of it. I heard it was a huge box office flop, and then I saw it and wondered why it isn’t more known. I think people just don’t know what it is or don’t understand the idea. These guys are in North Africa, in these awful situations, with the mafia involved. It was totally over the top. For me, it was so funny. Such a great story, so original, just hilarious. I have very rarely laughed this much in a movie. I have no reason why it wasn’t a huge smash success, in the top five funniest movies ever. It’s Dustin Hoffman — I could make a Top Five just around him. Like Rain Man. Watch that again. It will touch your soul."

"I made a film not too long ago that was originally called The Moguls, and then they changed the title to The Amateurs. Written and directed by a fellow by the name of Michael Traeger. First time director, I’ve had great success with first time guys. He assembled a brilliant cast. We had Ted Danson, Glenne Headly, Jeanne Tripplehorn, Joey Pantoliano, Tim Blake Nelson, Bill Fichtner, a wonderful cast, and it was about a small town making a porn movie. This was before that movie that came out, Zack & Miri Make a Porno. Anyway, it was a wonderful film, got great laughs, and then it got picked up by a distributor who went bankrupt and took about five or six movies down with him and the movies got very small releases. It’s a film that I’m very proud of, makes me laugh, I think people will like it, so you might check that out."

"I watched [it] just about every day growing up. In like seventh or eighth grade every day after school, my friend Andrew and I would watch Wayne’s World. And I think it’s a great example of a sketch effectively turned into a movie and a story that really works with a good journey. Not easily accomplished but such a good journey. And I’m drawn to it because I watched Saturday Night Live growing up, but also I think the duo of Mike Myers and Dana Carvey, who are both from the same world and yet are such different guys. You know, the sort of confidence and leadership of Wayne and then the understated kind of genius of Garth: very meta and self-aware, which at that time wasn’t all over TV and film yet. It’s like the cross promotion for Pepsi and Advil and all that kind of stuff wasn’t overly present yet, and I think he really nailed it."

"Obviously that's a great soundtrack, and also my favourite blaxploitation film. I kind of remember growing up [thinking] blaxploitation films were silly, like I remember, I'm Gonna Git You Sucka, but then once I started getting into them, I was like, oh wow, they are really political movies that don't really exist any more, and what I wanted to highlight was the score by J. J. Johnson. He's pretty much up there with Quincy Jones, but I would love to see a biopic about someone like that who has this really long career spanning from bebop and going to Hollywood and starting to score for blaxploitation films towards the end of his career. These guys are just genius arrangers, composers, players, and while their struggle was within the Hollywood system, it's not like it was a face you know from a college dorm poster like Miles Davis or something - it could be played by anybody you know."

"This was a really important movie for me as a teenager. It was a movie I could have fun with, that I thought was a piece of art and that I thought was doing something modern that had to do with my life. Cinema until then, the ones I really appreciated were done by guys that lived in a different reality from mine and were talking about something in the past that had connections with what I was living but I would have to make an effort to be part of the story and make it work for my reality. With the Coen brothers I thought I was looking at something which was an idea from the day before, you know, and also the commitment they had to their point of view was amazing. I felt excited and it was the perfect film to fall in love with when I was young."