My fear is getting stuck doing the same thing over and over.

I don't read or write music in the traditional sense, so I have to figure it out on the fly while I'm in the studio.

I like the cut of my gib. I dislike the way I move.

The only way I can make sense of my music is to compartmentalize it as opposed to having one band that I have to throw everything into. For me, it's just more fun and more challenging to create little worlds where a song or a piece can make sense.

I remember playing with John Zorn and Ikue Mori in Taiwan in a school classroom. There were, like, 15 people there, maybe, and they were sitting at the classroom desks, and we played under the chalkboard. There's no difference between playing that and the 'download' festival.

There are so many ideas that I have in my mind, of projects that I would love to tackle, people I would love to work with, genres I would love to experiment with, and sounds that don't fit any of my previous projects that I need to find a home for.

Everything with Peeping Tom is kind of a guessing game. It's constantly exhilarating but also exhausting.

I have a big mouth.

There are reasons that bands and musicians make demos and outtakes - because they are not good enough to make the record. A lot of people forget that.

The music should speak for itself, and hopefully it will.

I consciously did not want to put a sub-Mr. Bungle band on the map. I don't think the world needs that.

The Faith No More stuff isn't about me. It was a band. Maybe that's where a lot of journalists got the wrong idea. You don't just pluck a song off a tree and put vocals on it.

I lived in Bologna. I go back quite often, and I still have lots of connections and lots of friends. It was a nice period in my life.

Most film scores have one vibe, and they stick with it.

My tools are musicians, effects, things like that.

I know that whatever I put out, whether people think it's pop or noise or whatever, it's always going to be some kind of a freak or mutation. It's not going to be anything pure that a lot of people will relate to. And that's fine.

'A Perfect Place' is character-driven. The director for that wanted a couple of identifiable themes with a bunch of variations. That is what I did. The director for 'The Solitude of Prime Numbers' did not want that at all.

I like to have a few things going on at once. It feels natural.

I'm at a point now where I crave healthy musical environments, where there is a genuine exchange of ideas without repressed envy or resentment, and where people in the band want to be there regardless of what public accolades may come their way. Unfortunately, Mr. Bungle was not one of those places.

Things die for a reason, and in Bungle's case, it was a lot of reasons. It was great while it lasted but not something I'd go crawling back to.

I've always been in awe of filmmakers and their patience in realizing their vision because I could never do that.

I lived in Italy for quite a while and married an Italian woman. While there, I immersed myself in the complete culture: the music, art, literature, film, food, and history. It's easy to fall in love with. As a country, Italy does a good job of holding onto its rich traditions and culture. There's a real lack of embracing history in America.

Golf is the only sport I've encountered where you can really suck but still have a good time.

You don't have to release everything you do. Some ideas need to just stay on the shelf.