one of my diseases, one of my things in life, is that anything that is secret I try to undo. And so the locks to those filing cabinets represented a challenge to me. How the hell to open them? So I worked and worked on them. There are all kinds of stories about how you can feel the numbers and listen to things and so on. That's true; I understand it very well - for old- 19 fashioned safes. But these had a new design so that nothing would be pushing against the wheels while you were trying them, and none of the old methods would work. I read books by locksmiths, which always say in the beginning how they opened the locks when the safe is under water and the woman in it is drowning or some-thing, and the great locksmith opened the safe. And then in the back they tell you how they do it, and they don't tell you anything sensible. It doesn't sound like they could really open safes that way — like guess the combination on the basis of the psychology of the person who owns it! So I always figured they were keeping the method a secret, and like a kind of disease, I kept working on these things until I found out a few things. First, I found out how big a range you need to open the combination, how close you have to be. And then I invented a system by which you could try all the necessary combinations - 8,000, as it turned out, because the woman DROWNING عزه Books are always telling how the great locksmith opens the safe under water when the woman in it is drowning. 20 you could be within two of every number. And then I worked out a scheme by which I could try numbers without altering a number that I had already set, by correctly moving the wheels, so that I could try all the combinations in eight hours. And then finally I discovered (this took me about two years of researching) that it's easy to take the last two numbers of the combination off the safe if the safe is open. If the drawer was pulled out, you could turn the number and see the bolt go up and play around and find out what number it comes back at, and stuff like that. With a little trickery, you can get the combination off. So I used to practice it like a cardsharp practices cards, you know - all the time. Quicker and quicker and more and more unobtrusively I would come in and talk to some guy. I'd sort of lean against his filing cabinet, and you wouldn't even notice I'm doing any-thing. I'm not doing anything— just playing with the dial, that's all, just playing with the dial. But all the time I was taking the two numbers off! And then I would go back to my office and write the two numbers down, the last two numbers of the three. Now, if you have the last two numbers, it takes just a minute to try for the first number; there's only 20 possibilities, and it's open. OK? It takes about three minutes to open a safe if you know the last two numbers. So I got an excellent reputation for safe-cracking.

I call it “stolen time”—there’s nothing more valuable than stolen time. It happens to me sometimes when I’ve set up a meeting at my studio at a certain time and it gets cancelled on short notice. When it happens, I’m like a giddy child. I think, “Wow, I’ve stolen half an hour. It’s so exciting—I can do whatever I want!”

I come from the generation who were taught never to throw things out. I like the idea of hanging on to things and repairing items rather than discarding them. It’s not a question of money, more to do with guarding resources and not being wasteful. My children laugh at me when I sit darning a pair of socks.

If I don't do that with the bottles, then I sit down, I could be thinking of something else. If I do always the same things, it means that I am focused and I'm alert to think purely about tennis.

No, I think they were two totally different careers, because when I was acting, I was always impersonating different people, so it was never me—it was never myself. When I started to sing, I suddenly felt naked. I mean, I knew that was going to happen, because that’s the reason why I couldn’t do it before—when I was a teenager, I just couldn’t play in front of anyone at all—it was impossible, my hands started to shake, my voice was gone, and I was so self-conscious of what people would think about what I was doing. Because I didn’t know how to play songs that anybody knew—all I knew how to play were my own songs, and so I had this feeling of having my own chords and my own things that weren’t—I was afraid of being judged as doing nonsense music. But then maybe what the acting did to me was that I got more courage to do what I really wanted to do, even though I had all these fears that were still inside me.

Yeah, I remember exactly that—I was in San Francisco, playing at a beautiful venue, and the siren of an ambulance came through, and it fit so well with the song that I started to play more to draw it out. I like to play in more noisy places so that I can take advantage of all the sounds helping me to build new things. But the one I remember the most is that siren in that venue. Sometimes I’ll play in venues where they’ll have coffee machines or milkshake machines—all these noises that I hated maybe five years ago—I love them now.