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Writing a play, you start with less, so more is demanded of you. It's as if you have to not only write a symphony, but invent the instruments as well.

Why write for the orchestra? For one thing it's a very challenging problem.

They're simply following what was laid down in front and they play the same thing. So, there's no great challenge In being a classical drummer.

When I sit behind that electronic drum, it dominates me; there is no innovation in composing music like that.

My motivation for being a good drummer was born out of fear, which, in a way, seems so antithetical to what art should be.

When you're writing, you're only a brain and some fingers, but drumming, you're involving all four limbs, and you're hearing stuff and you're converting your ideas into physical motions, getting physical feedback from things you are touching - it's pretty cool. It's a really a nice contrast to writing.

I think at one time every drummer wanted to play like Krupa or wanted to win a Gene Krupa drum contest. This is the big inspiration for drummers and naturally it has to be the same way for me.

When you write, it's making a certain kind of music in your head. There's a rhythm to it, a pulse, and on the whole, I'm writing to that drum rather than the psychological process.

Every musical movement that is big enough has to produce some good musicians who wouldn't have had the incentive to start playing without it.

With every record, with each band, I just try to make a song good. I'm not so much focusing on my technique. There are a million better drummers than me. I try to adapt to the songwriter; I try to adapt to the situation and retain my sort of melodic power. My goal is for the band to be good.