I Know More Than I

The Group-effort Sound In Recording Of Sea Lion Is Like, You Really Hear All The People In The Room And Hear Them Interlocking. Theres A Real Freight-train Energy Of All These People At The Same Time Playing.

With Music, I Wasn't Curious Anymore. There Was No Dialogue. By The Time I Stopped, I Knew It Wasn't Going To Be Gone Forever, But It Just Wasn't The Right Time For Me To Care About That.

When I Stopped Touring, It Was Like Trying To Stop A Bullet Train Or A Giant Lead Ball Falling From A 100 Stories Up - It's Momentum And It Doesn't Just Stop. I Drew A Line In The Calendar And Made It A Brick Wall And Just Stopped Dead. There Was No Other Way. It Would've Taken Another 100 Years To Slow Down Slowly. I Had To Let Myself Imagine A Calendar With No Lines; When Every Single Day Is Being Predetermined Six Months In Advance, There's No More Fluidity To Time.

You Realize Time Isn't Just A Period That You Tell A Story Within - It Becomes A Major Character In The Film. There Is No Beginning, Middle, End Because There Is Always Stuff Beginning And Ending Simultaneously.

Music Is Pretty Intimate Stuff And I Can Only Work With Very Few People: Gonzalez Being One, Mocky Being Another And, On A Completely Different Level, Broken Social Scene. With Broken Social Scene Its Not One-on-one, Its A One-on-12. Its Very Healthy, Very Comfortable, Like A Big Pot Luck Supper Among Old Friends.