JB: I think first people buy the album. Wait, no: First, people go to the movie - that's the first level of fan. Then the harder-core fans will go and buy the album. But then the hardest of all the hard-core will buy a ticket and go out to the concert, and for that they are rewarded.

With?

JB: With the most explosive night of entertainment anyone has ever known - and I've said this a lot - since Pink Floyd's the Wall. Isn't the Wall widely recognized as the greatest live concert of all time?

KG: Well, it's pretty subjective. I'm gonna say Riverdance with Michael Flatley.

Do the different contexts require you to manipulate what you do? Is Tenacious D a different beast in each setting?

KG: Yeah. In the studio, it's very detail oriented; you get a chance to get every little thing right. In the movies as well. The live show, it's planned, but there's more of a spontaneous energy.

Are you both detail guys?

JB: I am, yeah. I'm a little bit obsessive about the details. I've got a little OCD. Things have to be lined up just so.

That seems at odds with the earliest Tenacious D stuff, which had a certain scrappiness to it.

JB: We kept it loose with that kind of stuff, especially on the first album, when we would go into the studio and it was time to do some comedy nuggets. We didn't write it down on pieces of paper; we didn't talk about it beforehand. We would just go in and riff on different ideas. Sometimes we wouldn't even tell each other what it was going to be, to capture what you're talking about. But, you know, I think it is always the same beast, whether we're in the studio or on the movie set or whatever.