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.

I believe in working with songs that have personal value for me.

My favorite recordings are the ones that feel like there were no middlemen in the creation. That's the biggest problem with most films and records being made today - too many people involved. I think it dilutes the artist's intent and inspiration.

It's a hard thing to explain, but the more I arrange for strings, the more I realize the possibilities.

I've worked with just as many talented women as I have talented men, and I feel fortunate enough to have that great balance.

Try to take your vision and ego as far away from the song as possible. Give as much respect as you can to the song and the initial inspiration.

I like using concrete imagery, but I don't feel that's what it's about. It's a combination of concrete and abstract to take the listener somewhere they know better than you. That's true for music, seeing a painting, watching a movie... it's all some kind of an escape.