From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.

I'm somebody who doesn't feel the need to be in the driver's seat all the time. I appreciate the perspective of being in the passenger's seat sometimes, and I feel fortunate for that because I've learned a lot from that perspective.

I don't really watch TV series because I don't want to get hooked on them and have them suck up all my time.

My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.

The way that I'm working now is basically the way I've been working since I was a kid: Find the greatest artist in whatever you do, and rip them off with respect. I think there's a big difference between ripping off with respect and ripping off in disrespect.

When I started to take literature and poetry classes, I just started to get inspired by these new incredible works of art that I had never seen or heard of before. I wrote a lot of bad high-school poetry, just like pretty much everyone did, I think, at some point. For me, the inspiration never really stopped.

If I'm writing... even a piece of a song... I write it down. If it still resonates six months down the line, a year, even five, those are the ones you put in your bag and you take to the studio. You come to realize, the ones that don't make it, they were only meant to live for that moment in your notebook or on the 4-track-and plenty of songs never get any farther than the 4-track.