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It was a scene in the sense that we were all close and we all knew each other before the different bands had really formed. We used to rehearse in the same place.

We were at the dark end of the L.A. punk scene, and that scene was full-on and violent and aggressive and wild and intense.

I was always really into the music rather than the scene.

At some of the venues, the audience was so loud we could hardly hear what was happening on stage, which kind of threw us back to 1983, when we had very similar reactions on a much bigger scale.

The Sound of Music was just such an honour to be in, because it was a movie that appeals to so many people, and they just loved it so much and they still love it to this day.

It wasn't just about flashing lights and pinball machines blowing up and things like that. It was about using encores, bringing back the good songs and using techniques that I knew about from rock performance.

Being shoved into the top-40 scene was an unusual experience. It was great I'd become accessible to a huge audience but not terribly fulfilling.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

Plus, you know, when I was young, there was a lot of respect for clowning in rock music - look at Little Richard. It was a part of the whole thing, and I always also believed that it released the audience.