I know, in my heart of hearts, I don't do things for money.

When you say 'failure,' that seems really dramatic, but a lot of failure is just really depressing and mundane. I remember the first time I ever played a concert in Italy. I played a venue that held 900 people, and I think five people showed up. It wasn't a big, 'John Carter of Mars' type failure. It wasn't dramatic; it was just depressing.

Sometimes people will think, I need to have pre-sanctioned spiritual joy. Getting joy from my contemplative meditation practice or getting joy from reading Thich Nhat Hahn books. Those things can be joyful but I think it’s the small, simple joys of playing with dogs or having sex with someone you love or going for a walk outside, stuff that we tend to ignore.

I don't put a lot of pressure on myself when I'm writing. It feels like if I come up with something good, or I come up with something bad, I'm not too worried.

Factory-farm lobbyists are so powerful and so well funded and they do everything in their power to hide the truth about farming. They keep the farms and slaughterhouses in places that most people never visit; they execute huge marketing campaigns in an effort to make animal production look like a happy, nice, benign institution.

Actually, the most entitled people I've met are indie rockers and indie actors, because they really believe their press.

Up until the rise of electronic music, if you were a musician in Portugal or Germany or Italy or Japan, and you didn't sing in English, you really were limited: You could be successful in the country where people understood your language. The world of electronic music is completely international. You have DJs from Finland making huge records for people in New Zealand, DJs in South Korea making huge records for people in France. By the fact that it doesn't cost anything to make, and that it transcends language, nation it accidentally accomplishes a lot of really remarkable things.