When I tried to grasp at either what I love or what I hate, I destroyed the very ability of being able to really penetrate the essence of either. By trying to understand it, I would just crush it.

I think the songs I was writing after Aeroplane were full of a lot of undealt-with pain that was just a little too big... the issues seemed too large for me to confront intuitively through songwriting. I kept pushing it and pushing it. There are so many issues about being human and why people inflict pain on each other. There were seeds of all these things I hadn't dealt with. With just the personal issues, I felt I was in over my head, but then to write about it... To write you have to have at least a little bit of confidence you know what you're talking about.

Often, everywhere we look, we seem to find obstacles and facades and smokescreens, so it was really nice to find things in the world that actually spoke to me. And I felt like Eastern thought really spoke to me. Because it isn't trying to cover up the pain in life; it's trying to deal with it and overcome it in an intelligent way. I think the reason I love Eastern thought so much, and mysticism in general - but especially Buddhism - is because it seems to me an attempt to look life squarely in the face, as it is.

I do feel like it's so important not to take that for granted - that opportunity to share your ideas with intelligent, beautiful people.

I bring a record home, and it connects with me like nothing else. In my ideal situation, somebody will do that with my record.

I would go to bed every night and have dreams about having a time machine and somehow I'd have the ability to move through time and space freely, and save Anne Frank.

For me, there's a lot of intrinsic mystery and power in folk music, but a lot of people don't perceive that music from around the world as something that fits into their lives or their psyche in any way. So I tried to present it in a different way to give it more of a chance to sink into people's heads.