Anything we were studying in school, like math, or understanding somebody's behavior outside of school, kind of worked its way into something I could understand by way of a musical experience I'd had or something I'd heard.

When you have the catalog of work, it doesn't feel like you've got one shot to get it right; it's just like, you're making a new document of something at the present time, and it's a living thing, and it changes. It's been cool to help other people make their records, to produce. You get a crash course in things that you don't get as the artist.

Anything we were studying in school, like math, or understanding somebody's behavior outside of school, kind of worked its way into something I could understand by way of a musical experience I'd had or something I'd heard.

I don't have a problem working 14 hours a day and still have ears and have a brain to mix afterwards. But I don't have the same strength to actively pursue and stay enthused about things like literature and movies and a social life - things that enhance the music, and the person.

Staying enthused about finding things; discovering new beauty in the world that can translate into music. That's the most precious sort of resource. You have to pull stuff from outside of the musical realm. Whatever muscle it is that it takes to listen to music and stay focused, in me, is really strong.

I think my role as a musician is much more reactionary than that of the creative personality type who locks himself in a tower and then comes out with Pet Sounds or something. I just respond to stimuli more than anything.

The most attractive thing that I've seen in the creative realm is the enthusiasm in people that does not seem to burn out. That's what I'm after.