I know my own limitations. And if somebody says, "I need songs for a cartoon garage band - they look like this and they should sound like this," it gives you a direction. I like having that kind of assignment.

Somebody else is satisfied by five Bentleys. I'm satisfied by a beautiful string arrangement.

For the records I've work on over the last 10 years, I get sent the really compressed version and the non-compressed version, and oftentimes you end up going with the more compressed one because it's what people's ears are attuned to. I think the bigger problem is saturation and people being desensitized.

Art is the child of Nature; yes, her darling child, in whom we trace the features of the mother's face, her aspect and her attitude.

Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was written over a year.

There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.

There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.