Q: How did you feel at that point in the tour?
Phil Collins:We were halfway through. Europe had been fantastic. We were surprised and pleased with the stadium shows. We had some bad luck with the weather, which of course didn't matter in America because obviously we were playing indoors except for Toronto, Los Angeles and New York. It was an emotional end to that part of the tour, but we still had the American part to do. Neither stretch of the tour was too long to get to the point where you started to wish you weren't there. We ended up at the last show in Los Angeles smiling as we started at the first show in Helsinki.
Q: Did you notice anything particular difference between the audiences in Europe and the U.S.?
Banks:We were surprised that there was less difference than we thought there was going to be. We weren't sure how American audiences were going to respond to a song called Ripples, which is quite a delicate song. Sometimes in the American arenas they can get a bit noisier and we were going to replace it with a song that we know is popular in America, In Too Deep, which again is a softer mood. But I think people appreciated us playing a slightly more obscure, old track like that which has always been a favorite with fans. So we stuck with it. Obviously American audiences are always a bit more rowdy. Sometimes in England when you play in Manchester the audiences are so attentive it's almost so quiet you don't know what's going on. But on both sides, it was very enthusiastic.
Q: I really liked the acoustic Ripples clip and the rehearsal moments mixed as extras into the DVD. At any point did you worry about turning the cameras on yourselves?
Collins:I had worked with the director (Anthony Mathile) on my last tour. I did a documentary (The Long Goodnight), a fly on the wall-kind of thing. He was very good at just blending into the scenery. He's a nice guy so we got on with him. When it was suggested to do something as special as this Genesis thing to document it from the word go, I held my breath to see how well Tony and Mike took to the idea of having somebody around all of time. I would say 90% of the time it was not a problem at all. And I think he got all those moments because he became so familiar. He got a lot of moments that you would otherwise not get.
And I think the documentary and extras do something to sort of explode some of the myths that people probably have about Genesis and how things are put together and it's all very swish and glossy and it's all very smooth. We have a great sense of humor and I think that comes across in the documentary and the extras. It's nice to have that on one hand and the concert on the other.
Q: Speaking of the funnier things, would either you, Mike or Tony, talk about Phil's idea for the drum solo to be played on stools.
Banks: Well, it shows in the video the first time he said he was thinking of playing stools, I thought he was joking. But no, he's serious. I thought, well, we'll give it a go. It's like anything. We were only in rehearsal stage. If it hadn't worked, he would have been the first to say it's not working. And they were able to make it sound big and powerful. And then, they move to the real drums and it takes off again. It's like the Concorde when you go supersonic. You have that second moment. It was quite a strong segue really. If there was any problem, it's that it made it twice as long. (Phil laughs).