I dream of working with iconic directors such as Tim Burton, Baz Luhrmann, Terry Gilliam and Wes Anderson - so I'm setting my sights pretty high! My perfect role would be in a fairy-tale period piece, and I'm quite upset all the Harry Potter movies have been made as I'd love to have been in those.

I remember we woke up one morning at Denny's house and John Phillips called. He said, you guys okay? We said, yeah, what's wrong, what's going on? He said, well, everybody's dead over at Sharon's house at Terry Melcher's place.

A guy I knew in high school got my number from my mom, called me up and was like, 'I can't believe I'm talking to you.' I was like, 'It's me - it's Terry; I went to high school with you! What do you mean?'

Terry Funk. Any time I got to wrestle with him, it was cool. Superstar Billy Graham was another one.

I got interested in the idea of music that could make itself in a sense in the mid 1960s really when I first heard composers like Terry Riley and when I first started playing with tape recorders.

I remember we woke up one morning at Denny's house and John Phillips called. He said you guys okay? We said yeah what's wrong what's going on? He said well everybody's dead over at Sharon's house at Terry Melcher's place.

But of course when people watch morning television Terry it's a very different animal. You know they're running around they're getting their kids ready for school they're probably doing eight million things they're brushing their teeth.

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.