Working in film, I'm sure you have insight into this, there's something great that only comes by way of interactions with others that a monastic life does not afford.

In our culture, the Oedipal drama succeeds in making us assume either a male or female sexual position. Certainly this is an ancient construct that's rapidly coming apart.

Musical acts that feign enthusiasm for what they're doing the guitarist who jumps up and down, like it's choreographed are so transparently vacuous.

The man believes the woman's got the hidden secret. That's a rare thing. You meet lots of people, and they're all deserved of love, of course, but romantic love involves some kind of supplement: she has the secret. That's what's desired.

I don't mean to romanticise the struggle, that leads to all kinds of terrible violence and absurdities that are even worse than the perverse immediate gratification.

With writing music, as a general rule I'm looking for something that surprises me, that doesn't fall within what's easy for me.

Maybe this is blasphemy to say, but I feel like music is not meant to be something that earning your keep depends on because it cheapens it and it will force you into making decisions in the interest of earning your keep, as opposed to the interest of the thing itself.