I never really planned on playing music. But it was a thing I'd always done, since I was young. So it just carried me away; I never really had to make a plan for it or make any decisions. It just sort of decided on me. And I don't know what the hell I would have done otherwise.

Performing is one thing, and day-to-day stuff - like the way you talk to people - is totally different. If I acted like I did onstage in normal life, everyone would probably hate me.

I think you have to find your own language. You find your footing with it, and you start to express it in certain ways.

Totally. I think things are beautiful when you don’t plan them, and you don’t have any expectations, and you’re not trying to get somewhere in particular. You’re just enjoying it, and making something because you love it, and love the people that you’re playing with. I guess everything happens as a reason.

Performing to me is the most vital, most important. It's my favorite part of all of it. I just want to be on stage.

If I'm working on one thing, then that's all that there is going on, and there's no such thing as a side project to me. It's 100 percent.

It was an honor to work with Samantha Morton on this Casablanca-esque, silent-film-esque, Americana photobooth Woolworth's hay day period piece of surrealism/ realism/ story time tell-tale-ism, black and white 35 mm film, washed in strange light, over this love hate tune, heartbreak song, life-goes-on lullaby, The Last Goodbye. It's a doorway into the future of the fatal past-tense. Get it?