"I got this when we were already started, it was when I raided the album closet of Elektra. It's one of the albums where it was, "Yeah, I gotta have this one". Tom Verlaine and Richard Lloyd traded off rhythm and lead, it'd be like their version of 'Dueling Banjos'! They took turns and there's all these different elements to it. That probably seeped in to [his and Black Francis' playing] on 'Monkey Gone To Heaven' through osmosis. We didn't mean it and it was just lucky. We just figure stuff out. Charles [Michael Kittridge Thompson IV, aka Black Francis] just leaves me alone when I'm doing my guitars. He would say "'Pixify' it", it's when the Pixies really become the Pixies. I'm just quoting him! It's kind of true in a little way. Of course it would be, that's the job, that's a lead guitarist's job, and Charles' job is to make Pixies songs and all that stuff. The guitar happens to be front and centre of the mix. They would even say it, "Now it's Joey's turn", and Charles would say: "Ah, now it's the Pixies.""

"I have to mention this as one of my favorites. I’ve been lucky enough to work with [producer] Joel Silver. It rewrote the rules on the modern thriller. It set the stage for the expectation that every question needs to be answered, and it has to be big, fun, and emotional, and a movie that can do everything. I try to do Die Hard in every movie that I do, by fulfilling that promise of delivering from the first frame. Obviously many more movies have done that — like Hitchcock — but as a movie that potentially could have gone many ways, it became a masterpiece. Before this movie, you could potentially believe that the bad guys are just bad guys; they don’t have motivation or are dumb. This guy had smart plans and dialogue, and set the bar high. Other movies have met it, but this was one of the first ones and I was blown away when I saw it. As much as I’ve liked other movies, at that time, Die Hard has had more of an influence on my work than the other ones of the time."