Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
It's hard to say if actual places really affect the way you write.
I moved to Cardiff when I was 17 and never needed a car. When I came to L.A. for my first job there, I needed a car, so I had to pass my driving test.
I've never detected a correlation between where I am and what I write. I think there could be something subconscious, though. And I can't really speak for my subconscious.
I love working in Dublin, but when I'm in London, I'm more focused on my career.
Wherever you go, things change you. I mean, obviously moving to Miami and becoming part of the NBA has given me a different perspective on style than I had when I lived in Chicago or Milwaukee.
Had we settled in Pennsylvania, there's no way I would have written a Confederate novel.
In London and New York, people just naturally seem to dress really well, and that makes me want to do the same. In Seoul, too; in L.A., I'm just like, 'Eh.'
The reason I became a better player was because I came to Philly.
Perhaps there would be more anxiety in my work if I lived in New York.
Maybe if you're playing in London or America, you don't feel that pressure quite as much.
I've learned over the years that geography is not that important, except that I seem to work better in the country than the city. I get more done. There's just less happening around me, and I have more time and concentration to work on music.
I think the location is almost as important as casting the leads of the movie. The location on 'The Purge' was crucial to that movie working.
A changing environment will affect Alaska more than any other state, because of our location. I'm not one though who would attribute it to being man-made.
I hate to play the I-live-in-the-country card, but it really takes all of the 'pack the kids into the car and run from here to there' out of the equation.
It seems the farther away we are from Hollywood, the better the ratings.
Moving to San Francisco affected me in a pretty profound way, in a lot of respects. I think it helped me evolve my sound and think outside of the space I'd been in in Sacramento. The scene there is so insular and kind of feeds on itself: you just end up playing the same shows with the same people for the same people.
There's a difference between performing in Philadelphia to New York as much as a difference between playing in Luton and playing in San Francisco, y'know what I mean?
Things can happen in some cities and the tale of them will be interesting: the same story laid in another city would be ridiculous.
I've written songs everywhere, and I think the place does matter.
The whole idea of doing the Hollywood thing never even occurred to me. When you grow up on the East coast, Hollywood seems like this fantasy land and you don't think that people can actually make a living there.
Sure, cricket on a beach on the isle of Jura is different from a Test match in a stadium in Galle, 6000 miles away, despite the sea air.
You can put the greatest seafood restaurant next to an average steak house in an urban area, and that steak house will do more business than the seafood place. If you go to the water, you can put an average seafood place next to the greatest steak house, and people are going to eat seafood.
The flavour of a fish which comes out of the sea at Acre is not similar to the flavour of a fish which comes out of the sea in Spain.
The city is always influential in the work, though I've had that temptation to leave, but only recently. It's difficult because whenever I start working someplace else, I'm like, "Man, this would have been better if I had my subwoofer."
