Sometimes you can do the work in the moment, and you don't know whether it's going to really have meaning once time has elapsed.

Studio D has a lot of symbolism for me.

When people just decide they're going to reconvene, there's no guarantee that they're going to have any of that chemistry. Sometimes people try to do that, and it's a struggle to try to recreate what once was.

I left Fleetwood Mac to make myself happy, and fortunately, it worked.

Fleetwood Mac was one big lesson in adaptation for me. There were five very different personalities, and I suppose that made it great for a while.

I was lucky enough to meet someone when I was about 46 and had my first child when I was 48, so I got started late, but I also got all that other stuff out of the way and was at a point where I could be a consistent presence at home.

There's a certain kind of idealism attached to 'Tusk' as a subtext to the music, and I think people now can respond not only to how colorful and experimental it is, but also why it was made.

When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.

When I work alone, and I'm in my studio, and I'm playing a lot of the stuff myself, I think the style of it becomes something a little different.

Arcade Fire seems to be doing very well; certainly, Phoenix is doing very well.