Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.

The cologne you pick should make you feel good when you go out with it. I think confidence comes across more than any other of our attributes.

I think, you know, for me, whatever I need to slot into to make that music the best it can be or help the artists, or whoever I'm working with, achieve whatever vision they have in their head for a song.

My grandmother always used to wear this English perfume called Tuberose and then she died and then I dated this girl who wore the same thing. Every time I hung out with her, I could only think of my recently deceased grandmother. So sometimes a signature scent can be good and sometimes it can be bad.

I didn't start making music in order to be famous.

You have to put these hooks in it, you know? You've got to make sure you got all that ear candy in it to get it through the gate.

My mother was pretty strict. I hated it, but maybe it made me a bit more sensible.