The mind shapes the body, and the body shapes the mind.
I have a lyric journal that I write in a lot. When I'm going to play, I just sit down and have my books with me and my notes and tapes and whatever I need to refer to. I just play and try different things. It's a kind of discipline.
In my reporting, I've found that real change escapes many change-makers because powerful illusions guide their projects.
Since I was a child, I watched tapes of Baggio, Zico, and Maradona, and then I tried to replicate them just playing on my own against the wall. Certainly it's talent, but you have to cultivate that talent.
Among God's creatures two, the dog and the guitar, have taken all the sizes and all the shapes, in order not to be separated from the man.
My head is full of shifting patterns and polyrhythmic stuff; but I want to use all acoustic instruments and create this kind of tapestry of interlocking lulling parts.
Cricket was deemed too posh where I came from, and I'd never have risked walking home through the estates in my whites. My club played some of the posh schools. I'd have the cheapest kit, but I loved those games. As soon as the posh lads opened their mouths and you heard their accents, the stakes were raised.
Our lives are largely made up of a series of mundane moments, but those little moments are often the finesse that shapes our entire existence; it's not necessarily the big, dramatic events, although they do, too, of course.
What I see as the particularly exciting prospect for writing horror fiction as we go forward is setting stories in more internal landscapes than external ones, mapping out the mind as the home for scary things instead of the house at the end of the lane or lakeside campground or abandoned amusement park.
Rock formations and their layers of texture and color have been a strong inspiration, as well as the landscapes of Valley of Fire State Park in Nevada and the Rainbow Mountains in China.
