A Quote by Greg Ginn
The English scene got more media attention with their emphasis on fashion, with the safety pins and all. There were some really good bands over there. The Sex Pistols were great.
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The bands that were big in '77, like the Clash and the Sex Pistols and Talking Heads, I got into them in the early '80s. And it changed my life. It got into my DNA.
When I first got involved in the underground metal scene in '82, '83, there were only about five or six major Death or Black Metal bands around. There were so many other bands that were inspirational, that really helped.
It was awesome growing up in New Orleans because there were great metal bands, there were great hardcore bands, there were great thrash metal bands in the middle '80s and what-not. But then, take me out of New Orleans, and I moved to Fort Worth in 1987, and there's a scene there, too. And Texas absolutely has a different sound.
There were a lot of times where there was a great deal of fodder recorded and played, because there was a market for it - just as there is today. And there were more bad bands than there were good bands - I think that should always be remembered.
I've tried to stay true, in my own fashion, to the ideas of The Sex Pistols, even while I was working with bands like Duran Duran or the Stones, whoever it might be. The thing that was attractive to me personally about videos in the beginning was that it was uncharted territory, and in a sense the record companies didn't know what they were doing.
The signing of the Sex Pistols was a turning point for Virgin. It put the company on the map and, over the years, attracted bands such as Genesis, the Rolling Stones, Lenny Kravitz, and Janet Jackson. It also attracted Culture Club, who were ground-breaking.
When punk began to be a genre, people were going to go out and try to mine it. Some of the better groups, like the Ramones and the Sex Pistols, were very artificial.
It's true the punk fashion itself was iconographic: rips and dirt, safety pins, zips, slogans, and hairstyles. These motifs were so iconic in themselves - motifs of rebellion.
I think in that context, when a generation of kids is that ignorant of their recent history, it does a good job of showing what the Pistols were standing for. It's current and it's in the air, partly because I think nothing contemporary is as extreme or as strongly stated as what The Sex Pistols were able to do in their time, in the '70s. I think the reason to [make the film] is that their ideas are still alive: the defense of the right to be an individual, and questioning everything you read, and questioning all the information that's bombarded increasingly at you.
For me, in movies, it's always a mixed bag. I've never made a movie where I thought, "You were really good in that movie; you were good all the time." No. It's always, "You didn't get it, you didn't do it in that scene, but the other scene is pretty good." So I just hope that in balance there's more good scenes than not.
When Brad and I got married in 2008, it got a lot of attention. And all the attention was over the fact that we were two men, but people were hardly conscious of the fact that we were entering into an interracial marriage. That's wonderful, because it was only 50 years ago with Loving v. Virginia that interracial marriages were made legal.
In my naïvety, I thought people who were in rock 'n' roll bands were great artists, and it was a huge shock to the system to realise that they weren't, that they didn't even aspire to be, really. Some of them did, maybe, but some of them, like Samson, were very frightened of the idea.
Rock n' roll is over, don't you get it? It lasted 25 years and now gets wiped out. The Sex Pistols were the bullet in the brain. They were the last rock and roll band.
No, we didn't shoot... in the ones that I did there were hardly any sex... there were suggestions of sex scenes but we never actually shot a sex scene as such.
I thought I was okay in my first film, and then I was really, really bad in some films. I really cringe when I see some of my scenes. There's a scene in one film where a dog is biting me; the expressions I have made should be qualified as the most over-acted scene in the history of the cinema. The dog's expressions were more real than mine.
I think people are really picky about English accents. When a Brit comes over here and kind of does an OK American accent, everyone's like, 'You were great! Fantastic!' But in England, even if you were doing a pretty good accent, they're like, 'But where are you from?' 'London.' 'What part of London?' Accents are really precious over there.
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