Each time you present a tour, you're faced with these questions of, 'How do you want to present visual information? How do you want to take the music that we're making on stage and visualize that?'

You don't get unity by ignoring the questions that have to be faced.

We don't think so at the present time. Obviously, at some point, we may get more information.

Wine is similar to music in that it's a purely experiential realm, and it's a purely subjective practice. That's sort of the funny thing about wine criticism or, for that matter, music criticism. At times, those are useful guides, but ultimately it's all about how you react to that music or wine.

We had less than 72 hours from the time he notified us to when he posted information [about the vulnerability].

When you're editing, you're putting it together in a way that makes sense metaphysically. You're not inventing it, but you're finding the story that's there. You're making a play that's eventually going to go on stage and present itself to an audience. You want to show what happened, not exactly what you have evidence of happening.