"When I was in Pulp, I actively did more TV stuff because that was during the Great Britpop Wars, and it seemed important to prove that indie people could speak. That war doesn't exist anymore."
"When I started out as a music journalist, at the end of the 1980s, it was generally assumed that we were living through the lamest music era the world would ever see. But those were also the years when hip-hop exploded, beatbox disco soared, indie rock took off, and new wave invented a language of teen angst."
"Ah, reality TV: where opportunists delight in exposing opportunism! It's kind of like the indie music scene."
"People don't know where to place me. Terry Gilliam used me as a quirky cop in 'Twelve Monkeys', and then he hired me again to be an effeminate hotel clerk in 'Fear and Loathing in Las Vegas'. Another time, I was shooting this indie film 'The Souler Opposite' and six days a week, I'm playing this big puppy dog, then I come to the 'NYPD Blue' set and become this scumbag."
"It's wonderful to be appreciated for being quirky, and to see Zooey Deschanel and the quirky, indie film types get mainstream play is amazing for women, because women are much more complicated than what we've see on TV in the past."
"No, in Lethal Weapon I was a taxi cab driver that Mel jumps in front of the taxi and pulls me out of the car and steals the taxi. Then I did some other indie driving for some of the car sequences."
"What's cool about indie rock is that one band can do effectively the same thing as another band, and one band nails it, and the other one doesn't. I like that elusiveness."
"A film that I love is 'Raising Arizona' and that's funny but it's quite indie and weird and odd and quirky. I'd love to do something like that. Who knows?"
"In the old days, a TV sync was perceived as not so cool or whittling away at your indie cred. Now it's seen as much more of an opportunity than a sellout, as a way to find fans who wouldn't have ordinarily come across their genre of music."