I try and stay limber, swim, run, ride motorcycles.

I'm always going to get more of a charge playing Chicago than I will Duluth or some place like that. Just because of the history and the people there are way more knowledgeable than a lot of other cities. It's an amazing music scene with some great bands and great musicians.

Little things can make such a big difference during recording.

I always loose a little weight on the road, so I constantly have to be on top of my nutrition and hydration.

No matter how much success you're having, you can't continue working together if you can't communicate.

Joining another big time rock band was the last thing I was looking for, but as the tour went on, I really dug playing to a lot of people, the band sounded great, and just being out there again, got me over my depression and so I decided to hop on board.

Creatively, I thought we were still viable and could do more records. But our working relationship just wasn't happening at all, and our chemistry as people broke down because of that.

I've talked to some drummers who seem to have a very hard time staying in shape on the road, including some drummers touring with high-profile acts that don't have to live on fast food every night.

I show up ready to play, so I normally try and fit the situation.

If PJ Harvey ever came to town I'd definitely go try to go see her.

The fact that Eddie Vedder likes to play 3 hour plus shows a night, I have to be ready for that.

For me, I just try to make sure I eat enough and drink enough water and that's about it.

I love the way Pharell is laying down great drum tracks. He is a great drummer.

Ben was more improvisational, and relied less on methodology, and basically is a guitarist who switched to bass, whereas Jeff has a more traditional approach to playing bass in a band, and has a great sense of what his band sounds like, and we lock up nicely.

I try and stay limber, swim, run, ride motorcycles.

Live life to the fullest, and focus on the positive.

I would never want to live in L.A., and I made that decision years ago, so I never chose that path for myself, although I have much respect for those that do it at a high level.

I still felt we had some really good music on that record, but it's a shame that we couldn't make it better. And the tour was a total mess. We just had no life, no energy, and I felt we were going through the motions.

A lot of times, when a band finds success with a certain style or sound, they have a really hard time breaking away from that to grow as artists.

My recording career has luckily run the gamut of recording environments.

Whenever Elvin Jones comes to Seattle I try to go catch him.

In my last band, Soundgarden, I had a couple of different drummers sit in on some stuff and it was fun for me to kind of take a break and watch the band.

When I first went on tour with PJ in '98, I was still in shock having gone through the Soundgarden break up.

So, I just kind of played the way I played and then eventually we kind of figured out what worked best for the band. So, I definitely changed my stuff up and I think we're playing really tight now.

I think every band is a little cautious when the drummer starts to write tunes.

But I've always liked to be the kind of drummer and musician who likes to go outside of what's expected of me, and I've always been able to do more than you necessarily hear with every band I've ever played in.

Like I'm in San Diego today and this is my hometown so I've got a lot of my friends coming and I definitely want to put on the best show that I can.

I guess by taking lessons early on, and really trying to play all the rudimentary stuff, and try to have it sound as good as my teacher. It took a lot of practice, which I enjoyed, and still do.

Live life to the fullest and focus on the positive.

When I first started out in this business, it was easy because nobody wanted anything from me. But now everyone wants something from me, so it's hard to break away and just be a songwriter.

The real mariachis in Mexico are singers like Agustin Lara and Pedro Infante and Jorge Negrete - the Golden Era of Mexican Filmmaking. Mariachis sing very soft and very beautiful. That's old-school mariachi. They are caressing the songs.

'The Odyssey' is the great tale, and I was really taken by 'The Iliad,' so I dig into those things, and when I was a kid I didn't. You've gotta have a certain level of understanding yourself before that stuff really starts to resonate.

I hope it's always going to be a mix between theatre, film and radio. I've been very lucky living in London that you can do all that - in New York and L.A., there's more of a structure for film in L.A. and theatre in New York. In London, our industry is smaller, but it produces brilliant work all in one place.

I like light, color, luminosity. I like things full of color and vibrant.

The only direction Obama has the economy moving is backward.

I got quite bored, serving in the bar. Since I was there, the customers wouldn't talk about women, and with half their subject matter denied them, it was: horses, silence; horses, silence.

Yes, we can pay the interest on the debt. We can renew the $500 billion worth of bonds that are coming due. We can mail out our Social Security checks. We can make sure those Medicare claims are honored. We can pay our military. We can protect our veterans. But when you get beyond that, the soup gets a little thin.

Writers have to be observant. Every nuance, every inflection in a voice, the quality of air, even - they all get mixed up in this soup of the story developing in our minds.

The police must obey the law while enforcing the law.

Even as water carves monuments of stone, so do our thoughts shape our character.

Comedy lives on in the web and TV, but nobody's pressing comedy albums anymore.

In fifth grade, I did 'Oklahoma!,' but I didn't get a leading role. I knew the whole play and could sing it already, but they were like, 'The sixth-grader has to get the lead.' I was really discouraged.

Some minds seem almost to create themselves, springing up under every disadvantage and working their solitary but irresistible way through a thousand obstacles.

How much abuse is a fighter expected to endure before he can be allowed to show some concern for his own welfare? Anyone who has been around fighters knows they all share the same secret: They are more afraid of embarrassment and humiliation than injury. Do fans and writers use this fact against them in what we celebrate or criticize?

We fear our passage will be attended with difficulties by reason of the great number of passingers which are one hundred and eighty and upwards in number.

I want to use things I learn about writing in my acting, and vice versa.

We tell the public which way the cat is jumping. The public will take care of the cat.

America has thrived on capitalism, and America will thrive again on capitalism.

From being at art college, I've always hated people that have the gall to think that they're being incredibly different when they're doing something in a very acceptable way, something safe that they've seen someone else doing.