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.

I think it's better to just say nothing at all than to just send two words.

I really try as hard as I can on the show. If people can't see my face, if they can't see my sweat beads or at least that I'm struggling, that I'm not just pretending or going through the motions, then who can blame them for thinking that it's some kind of ridiculous piss-take?

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.

In all the music I've done, what I'm really interested in above all else, and I'm not sure it's what one should be interested in, is the kind of - you know, people talk about work progressions, which doesn't really make sense with pop music because there is no progression, because there is no tonic, because there is no more tonality.

I'm steeped in aesthetic theory, so I tend to bring in my own amateurish way of baring a little bit - when, in practice, I'm not thinking about that when I'm working over the keyboard, or musing over musical ideas in my head. But when discussing it, we want to have some new thought about this new music.