There's always a tension between wanting to write a really concise, instant gratification type song that gets under your skin the first time you hear it, and wanting to really stretch out. I think it's a healthy tension.

I don't like super-descriptive modern fiction. I like, "Here's what was happening in 1582 all over the planet." Then that gets my imagination going.

What you see with your eyes when you're making music is going to have a profound effect on what you hear.

All the folks I play with come from jazz backgrounds or at least appreciate spontaneity within the parameters of a pop song.

The anti-aging advert that I would like to see is a baby covered in cream saying, 'Aah, I've used too much'

The melodies come out so strong that I'm like, "Oh, crap." It's really better if they could both be kind of able to compromise, but the melodies, even more recently, they come out very fully cast and formed.

Playing the violin and singing and whistling are just three different ways of making sound. It's not trying to replace a band, per se. It's become a completely different thing. And it's not just simply an effect. It's just a very surprisingly intuitive thing.