Thom: "'We Suck Young Blood'... hmm, yeah... I mean, I think that's funny. That track to me is funny. I mean, sort of... I mean, it's sort of so vaudeville and like... we had all these fantasies about... when we were recording it we had... Paul Thomas Anderson came to the studio, and he brought this camera with him, which was a 1920s... it was exactly the same camera model, that they shot the original Nosferatu on. This camera is basically just a box and you wind it. And you have to have a sort of tempo to wind it to. And if you wind it fast or slow you get this extraordinary movement. And we wanted to shoot this sort of really over the top, vaudeville sort of b-movie thing with it. Because that to me was totally where it was coming from, you know. And also it's really sick, and sort of like sexual in a really perverse way. Very L.A., as far as I'm concerned. I mean, I think that was the reason we went to L.A., 'cause 'We Suck Young Blood' was.. that was our take on Hollywood, really, basically. In fact we went out to a party that night. We went to this place and... [whispers] you people are so silly. And it was like that's how they dressed every day to create an impression. It was brilliant. We felt like old people or Maybe we'd missed something."Phil: "It doesn't sound light-hearted, but it was done in a very light-hearted spirit, really. It started off sounding quite like a pastiche, really. And normally, when it starts off there, we discard something very quickly, I think. But we actually stuck with it. It's got a very sinister feel to it."Colin: "The backing session from Phil on the drums, then we got the rest of this like clapping over the top of it, completely out of time. Expensive microphones and a lot of studio hours and studio tape were spent on like getting this sort of clapping like that. There's a lot of different takes, Nigel really drove us. I think it was like 3 days."