But that is a valid, continuing service that that music – which is, in some cases, 80 or 90 years old – is rendering. And proving its own timelessness.

I think actors are at the mercy of the opportunities presented to them. So you kind of have to wait for them to choose you. My music is insular – I can choose that.

I hope that books don’t go the way of albums and CD, large format albums, and physical product.

We started shooting, and then Jodie found out she was pregnant. Forest broke it to me – he’d gone to work and heard it on the radio! It seemed like the movie was doomed. But, like these characters, there was a disregard for all the signs along the way.

Ironically, the success I’ve experienced at country radio has left me ostracized from pop and other formats of radio.

The actual work of recording a record or making a film just requires that you consciously block the time out to do that and nothing else. That’s what I do.

I’m really proud of it. To me, it’s a movie about character behavior and the pecking order of the pack, as well as the central character’s massive survival guilt.

I am probably the last of a generation able to gain an education in country music by osmosis, by sitting in a ’64 Ford banging the buttons on the radio.

I was very fortunate in having David Fincher, the director come to me. Now I’ve seen the finished product, I feel that every bit of the nine months we spent on the film was worth it.

I don’t regret any of the musical decisions I have made.