There was this kind of wackiness that was really embraced and put on a pedestal. It was before the millennium. We were envisioning a future that was mostly idealistic. I think that came crashing down a little bit in 9/11, or a lot. There is something about Portland that does seem to still exist in this total idealistic world and total idealistic mind frame, and I think that's what Dream of the '90s is talking about.

I think that half of us feel fraudulent in our lives anyway. There's that strange disconnect of not really knowing what we're doing sometimes, or why it matters. It's our existential crisis.

Practice. Learn and then unlearn - that's the trick in finding your own style of playing. You can't merely emulate, you have to innovate, or at the very least create your own path into the process.

I think you should be prepared for a green-screen CGI at all times.

It's hard to beat the visceral high of playing live and creating something spontaneous.

I don't think you need to sound like from where you're from. But I think there is something magical and powerful about encompassing something fully and singularly.

I love coffee. I love a midday espresso on set, just for the energy.