After Metropolis was forced to close, I was putting shows on wherever I could find a venue, not working in a particular club. And then on bigger shows I was doing production work, whether it was running or catering, working in the production office - different aspects of working for the biggest promoters in town. The shows that I was putting on were, at the time, very underground. Shows like Soul Asylum, Faith No More, Meat Puppets, Sonic Youth. I never worked for any record companies though. The only contact that I had with record companies was in the'70s, being an impressionable teenager and all the promotion people from the different record companies happened to live in this neighbourhood that I lived in. It was an easy call for me to say, "I wouldn't want to do that!" [laughing]. You have to remember the '70s were a strange time in history, let alone in music history.

The Rock: I have so much love and respect for the fans. I'll never forget where I came from. I love the business. I grew up in the business. And everyone always asks me, from Letterman to Stone Phillips, what I miss about wrestling. Hands down, I miss the interaction with the fans. Outside of the ring I loved it, too. I mean, how hard is it to sign an autograph? Don't be an asshole to your fans. And there's many [in WWE] that won't, which is bullshit. But inside the ring, just that energy and feeding off that energy is great. There's something so special about it. And every night I would just have a blueprint of what I would say and rely so much on ad-libbing and waiting to see what happens when I get out there and let it materialize organically and see what happens. Every night was a different crowd and they gave me so much energy, and I'll always love that and always miss that for sure.

"Jobs liked to tell the story- and he did so to his team that day- about how everything that he had done correctly had required a moment when he hit the rewind button. In each case he had to rework something that he discovered was not perfect. He talked about doing it on Toy Story, when the character of Woody had evolved into being a jerk, and on a couple of occasions with the original Macintosh. " If something isn't right, you can't just ignore it and say you'll fix it later," he said. " That's what other companies do.

We not only worked hard—but we had a lot of fun doing it. We never saw the dynamics of work and fun as incompatible. If you're going to spend a large percentage of your waking hours at work, why not enjoy it?

I do hear sometimes from programmers who are kind of sad that they don't have the opportunity to write game engines from scratch like I did and have it matter or make an impact...here's where some perspective really helps - I can remember when I was a teenager, I thought I had missed the Golden Age of 8-bit gaming, that I was never going to be Richard Garriott...time went by, and I got to make my own marks in things after that. And, in that time, I also see so many opportunities that have come by. The 90s PC wave was great - I was happy to be there, and I'm glad I took a swing and knocked one out of the park with that. But since then, we've seen mobile games, and web games, and free-to-play games, the Steam revolution...and now . And all of these are amazing! So, yeah, the opportunities that I had aren't there for people today - but there are new and better ones. And personally, I'm more excited about these than anything that's come before. So, thank you very much for this honor, but I'm just getting started.

Although my role in Legacy was not big, I still enjoyed working with them.

The first song I ever wrote back then was the song that landed me the job as composer at Westwood Studios, which was remarkable for me at the time. It was basically an acoustic guitar song with electric guitar leads and keyboard strings, and raining sound effects in the background. If I had to compare it to anything, it was probably similar to an interlude Queensryche song. I never released this song before, but I've recently been thinking about re-recording it with the experience I have now and really making it sound proper. Maybe one day.

(about Woodstock) I think it was fantastic. I think the only way its been overdone was thinking it changed the world, politically and as far as the war went. It was only a part of things. It wasn’t it.

John Lewell: Can you tell us: what exactly was Jack Warner like, as an employer?
Chuck Jones: Well, what he was like was nothing! We had nothing to do with Jack Warner. After fifteen years of direction (and the other person present, Friz Ferleng, had directed longer than that) we were finally invited by him to have lunch in the executive dining room. This was reserved for executives and favorite directors. Jack Warner was there. And Harry Warner was there. Jack didn't say very much to us. He was talking to other people about other things. But Harry Warner said: "The only thing I know about our cartoon department is that we make Mickey Mouse." Well, that was a little startling. It was the early 1950s, for God's sake! And so when we left, I said: "Don't worry, Mr Warner, we'll continue to make good Mickey Mouses!" And he patted me on the back.

Back in the day, the music industry was my God

What they had me doing first was autographing copies of Come and Get It at the Bon Marche, where I had been fired a couple of years back. That was bad enough but think of me autographing a book written by somebody else. That took crust but it didn't turn out so badly because when I got to the store, about twenty people finally strolled in and looked at me from a distance and kept their buying firmly in control. What the Goldwyn people had forgotten was that up that way I'm still remembered as the freak from West Seattle High.

It truly was incredible. It was so great for me. I did three shows while under contract with them. By the time I got into movies the studio system was over so in a way it was the best thing that ever happened to me. Because then I went on to do everything, from television to films and everything else.

I started managing in '83. The U-Men were the first, and then a group called The First Thought. A real pivotal moment for me was when a friend was working with one of the early and very influential bands in Seattle in the early '80s, called The Blackouts. They had moved away and had wanted to come back and put on a couple of shows in the area, and asked me to help them. Putting on these shows and working with the Blackouts, who happened to have a deal with Wax Trax!, was really a big moment for me, personally. I know that experience made a big difference in my wanting to pursue a career in the music business: putting on their shows definitely gave me this kind of confidence that I didn't have before - even though one of the shows was riddled with challenges that should probably have dissuaded me from taking one more step towards the music business.

I loved being a temp, because I would just go from office to office and be terrible at a different job for a week.