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Johnny was great in the studio; he was there to make the music that he wanted to make. We lived right beside each other and had a rehearsal studio that was just ours, with nobody else using it, it was part of Johnny's house, so we could rehearse every day.

When I got a call to do the voice of Johnny in an episode of 'American Dad' titled 'I Can't Stan You,' it was a great opportunity to be a part of a really funny cutting-edge show on television. I really got into the character, and I was able to do some improvisation, which allowed me to mix in part of my personality into the script.

I was lucky to be with Johnny... he taught me a lot about fame.

I am very proud of what 'Johnny' achieved in stand-up comedy because he believed entirely in giving an audience the best kick he could. But he was someone who was quite detrimental to my health, both emotionally and physically.

I wanted to try and trace the genuine origins of 'Johnny' and how he so successfully staged this takeover of 'Michael Pennington.' 'Johnny' is a contradiction to who I am as a person. I'm not very good at confrontation, I have a tendency to internalise and to carry things around.

You know that was much more of a kind of cameo, I love the movie, I love the story, I love Johnny as a fun little role but it was more of a cameo, not anywhere near as developed as this role.

It's funny, in some of the interviews I've seen that were done for the film, some people say things like, 'Oh, I was never a very big Jim Woodring fan. I've never thought his work was that great.'

John was great to work with, and a lot of fun. I wish I'd had the chance to make more music with him, of course, and to get to know him better.

He's just like my father that way-my father just adored my mother and let her do whatever she wanted. John's like that. He's a very rare man, a very good man, and I've had a good life with him. I'm proud to be walking in the wake of Johnny's fame.