After a couple of failed attempts, I came up with a weird tuning where I was dropping the G string down a step so that it became a seventh, and it got me to a place where I could play all these figures fairly easily. It was not an easy thing to work out.

That's one strength that Stevie has. She's really not a strong instrumentalist in any way. Her instrument is her voice and her words. And it keeps her focused on the very center of that.

All of my style came from listening to records.

Those 12 years, they were ambiguous at best.

Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87.

You know, I was never totally thrilled with being a Fleetwood Mac member, but surprisingly, I was having such a good time reuniting with John, Mick, and Stevie.

I'm also married for the first time, and I have two kids. So there's some kind of good karma right now.

I was playing a Fender Telecaster when I first joined.

When Stevie and I joined the band, we were in the midst of breaking up, as were John and Christine. By the time Rumours was being recorded, things got worse in terms of psychology and drug use. It was a large exercise in denial - in order for me to get work done.

The 12 years I was in Fleetwood Mac before were not particularly happy years. I was not in a very good place, psychologically, when I left. I didn't have a lot of confidence in what I was doing.

I didn't take lessons, and I don't know my scales.

But by taking the time away, getting myself off the treadmill, and just slowing down and learning, I felt I had so much more to give back. And maybe that was something that needed to happen for all of us.

Years on, Christine and John still have a deep love for each other, as do Stevie and I - we've been working together since I was 17.

After a couple of failed attempts, I came up with a weird tuning where I was dropping the G string down a step so that it became a seventh, and it got me to a place where I could play all these figures fairly easily. It was not an easy thing to work out.

I also learned to be more confident, to trust my instincts more.

The writing is all done, so it's all about verbalizing everything from point A to point B, and certainly there's a bit of politics involved, so it's a different thing.

That's basically what's going on now: Everything is propaganda.

Some days I would be there at ten in the morning and wouldn't leave till ten at night, and the others would waltz in for a couple of hours and then leave, because I was doing that painting thing. And they were happy to see that being done.

Confounding people's expectations was a way to maintain integrity.

That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.

Even though I had pushed through the Tango album, it was just not a very good environment to be in on a daily basis. In many ways, this is the best time of my life.

When I work alone, my process is like painting. With Fleetwood Mac, it's more like movie making.

This time, there were no drugs involved. The hours were completely normal daytime hours. I think we were able to appreciate the interplay, where before we had taken it for granted.

It's really touching that we can come back after so long and care about making an album that says as much as this one does. And after all this time, we really do care about each other.

When I work alone, it can be like dabbling with a canvas. Maybe you paint over bits, and it starts to form its own life and lead you off in a direction. It becomes an intuitive, subconscious process.

Ironically, that was quite a bit of the appeal of Rumours. It's equally interesting on a musical level and as a soap opera.

I had to seal off my feelings about Stevie while seeing her every day and having to help her, too. But you get on with it. What was happening to the band was much bigger than any of that.

They tried to get me to use a pick when I first joined the band. They had certain things they thought were appropriate. I tried to adapt as much as I could.

I just find things that work and embellish them.

When you become successful on the level that Fleetwood Mac did, it gives you financial freedom, which should allow you to follow your impulses. But oddly enough, they become much harder to follow.

The thought of being on my own really terrified me. But then I realized being alone is really a cleansing thing.

We should have a State in which we could live and breathe as free men and which we could develop according to our own lights and culture and where principles of Islamic social justice could find free play.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

A play is much easier to maintain your personal life with because if you're rehearsing, you're working like from 11 to 6 or 11 to 5 and you get to have your whole morning and your whole evening. When you're doing the play, you have all day.

I'd like to one day play Amanda, the mother, in The Glass Menagerie.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

For years the Trio did nothing but play for musicians and other hip people. We practically starved to death.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

Genius is not a possession of the limited few, but exists in some degree in everyone. Where there is natural growth, a full and free play of faculties, genius will manifest itself.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

If Davis Cup was a little bit less or once every two years, I would be more inclined to play. But the way it is now, it is too much tennis for me.

I remember him watching me through the crack of a door singing with a hairbrush. I was in front of his mirror. I think he wanted me to sing. He would get me on the table and make me sing sometimes or play the piano. He was very encouraging on that front.

If you watch a game, it's fun. If you play it, it's recreation. If you work at it, it's golf.

You have to like the characters you play.

Good directors say, Here's where the play is. They stand by the heart of the matter. Some of them stand beside it.

The value of music is to be able to play one note at the right time in the right way.

So our ears got used to listening to jazz in the place that it was that the bass player could not play. No one really realized it and really addressed it until the bass players who could play their instrument came along and started doing something with it.

Well, I play Jews and parrots. Parrots are how I've branched out.