Cinema Quotes
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The band will be going along, and somebody or another will say, 'I want to go off and do a solo career.'... They come back, and other people come in.
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The way Yes works is when we have a new member come in, as in Jon Davison, it's appropriate that we see what differences we can get out of a new contributing member in order to keep Yes interesting.
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I don't mind snakes. Growing up in South Africa there were a couple a snakes around... and I'm not talking just about the government!
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'Fragile,' of course, was a very successful album for us, especially here in the States. It had a lot of solo pieces on it, though.
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Everyone enjoys downtime at home, I'm sure, for various reasons, but I find the whole system of being out there and doing shows for people - the more of it you do, in fact the more energizing it is, for me individually.
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The flukey part of it is, back in the early days, I had that guitar decorated with all kinds of crap wallpaper, 'Flower Power' - then that got all shaved off. And during the course of cleaning the bass up again, some of the wood got shaved down, and it probably became a lighter body than the stock factory model.
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All of the directors I've worked with I've gotten along with very well.
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There's been talk of YES possibly doing something on Broadway in New York. People have approached me with that idea, and there are discussions about that.
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In many ways I think 'Fly From Here' is a return to classic Yes; people seem to have been really enjoying it, integrated into the set along with the old material.
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I'll always do the guitar parts since it's my main instrument.
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Yes is what I like doing more than anything else. Somewhere along the way, as people came and went, it fell to me to kind of keep it going and oversee the spirit of the enterprise, as it were.
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It's an important thing to have a relationship with the director, and have it be a positive one.
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Because of all the various people who've come in and out and brought along ideas, I've been on a learning curve throughout all these years. Of course, everyone that's been involved has influenced me as well. And I'm grateful for that.
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Look how far the human race has come in terms of air and space travel in the last hundred years. So in the next couple of thousand years, you've got to believe that we're going to be able to do all kinds of amazing things.
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We've done very different Yes albums - 11 bars, 13. I think we had something that had 17/4 in it. It's just like anything - the more you do it, the more you have to do it.
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Writing a simple melody can take weeks to get it right where I want it, but I do quite enjoy it.
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I love being in a band. I love that collaborative spirit, although some would suggest that I don't get involved in the collaborative spirit, but it's not true.
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I know I always worked hard on making sure we came out with the best possible product and of course we were working with four other people, you have to balance that as well.
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People are used to us being onstage for a while.
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Of course, Paul McCartney's sound is different from mine, but it's the way you hear things, really.
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I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.
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I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.
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I really love writing themes and melody.
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In a way, that's always been Yes' history to a large extent! Quite a few occasions when we've had a new band member or change in members, then we've done a new album with new chops and refreshed the musical approach.