Music is pretty intimate stuff and I can only work with very few people: Gonzalez being one, Mocky being another and, on a completely different level, Broken Social Scene. With Broken Social Scene its not one-on-one, its a one-on-12. Its very healthy, very comfortable, like a big pot luck supper among old friends.

Because there's just so much in a day now, I keep writing in much more abstract terms, like I don't try to write about what happened anymore. It would be impossible.

You can get anywhere on earth by falling asleep.

The group-effort sound in recording of Sea Lion is like, you really hear all the people in the room and hear them interlocking. Theres a real freight-train energy of all these people at the same time playing.

For me, the best part is people who watch the movie and tell me it inspired them to collaborate with their friend who's a photographer or filmmaker.

When I'm in a city that's just clean, concrete lines, I get really short of breath and confused. It's much more interesting to me when nature is creeping back and tearing the mortar apart between the bricks.

There are certain parts of chords that resolve things and tie a bow, and others that keep things open and unanswered.