When I started this project I was a young architect. I was very apprehensive about any changes to the design. Whether I wanted to or not I learned that you can accept some changes to its form without compromising its intent. But it's a leap of faith that I didn't want to make initially - to put it mildly.

Sometimes you start with the drawing and then the gag comes to you in the middle of it. That is when you start working on the solution of the gag which is composition placing equilibrium and character design.

So if I want to buy a light in a shop and I don't find a light that I like I think to myself what would I like? What would I like to buy? Then I started to imagine and design it for myself a lot of the time.

Well I never studied design and I went to art school to study art you know sculpture and things like that and ended up making things like sculpture and started making chairs and jewelry together and that's how I started.

I actually started as a model builder and quickly progressed into production design which made sense because I could draw and paint. But I kept watching that guy over there who was moving the actors around and setting up the shots.

In just six weeks from the time the design was started we had the motor on the block testing its power.

No wonder the film industry started in the desert in California where like all desert dwellers they dream their buildings rather than design them.

Well I design costumes because I started with the theater in Chicago but somehow a few lines just sort of fell to me to do it. And I studied it in school and I always liked it.

I start thinking about life after death. I've got to quit thinking about it because it's very deep. Very deep. Sometimes you start thinking about it and you don't feel like you want to be alive so I don't like to get all quiet.

When we play 'Angel of Death' it's actually a 2 and half minutes sing 'til our party starts. That song is pretty much been played traditionally in the end.