I've talked to a lot of artists - painters, writers, musicians - many of whom have had great ideas on trains. The only explanation I have is all that stuff is coming at you while you're relaxed, so somehow it kicks you into hyperspace in terms of brain function.

Studios always seem to be in basements without natural light and with black everything.

I really wanted the first record to be different from what I'd done with Genesis, so we were trying to do things in different styles.

It took me three albums to get the confidence and to find out what I could do that made me different from other people. And the first record, really, was a process of trying.

I'm often guilty of overcooking and too much arrangement and throwing too much at it. But I think as I get older, I'm learning better when to be empty and when to be full.

As you get older, some top notes drop off and bottom notes appear, which I quite like. You listen to Leonard Cohen or Johnny Cash, and you see the advantage of the lower end.

There's a Slow Food movement. I think I'm part of the Slow Music movement.

I was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.

I think the rhythm is like the spine of the piece. If you change that, then the body that forms around it is changed as well.

A record for us that sells 50,000 is a good record, and 100,000 is a serious hit.