I always just made music that resonates with me emotionally.

When playing big festivals, I tend to play big, over the top techno tracks, like hands in the air songs that make sense being played in front of 30,000 people. I steer away from subtlety in the interests of big bombastic dance music.

Over time I just realised the world is a very complicated place, and there is not a single structured belief system that adequately and comprehensively describes every aspect of our existence. So that is my new approach to life and spirituality - I don't know anything, except on a very naive and subjective level.

If you make a record, you should ask yourself, 'Did it make someone cry, in a good way, not a bad way?' There should almost be subjective emotional criteria for evaluating work, instead of just profitability.

One of the nice things about licensing music to movies or advertisements is you can reach a lot of people who normally wouldn't hear music.

Nothing can stop us now 'cause we are all made of stars.

When I was growing up, I fetishised New York City. It was the land of Lou Reed and the Velvet Underground, it was where Leonard Cohen wrote 'Chelsea Hotel', it was CBGBs and all the punk rock clubs. Artists and musicians lived there, and it was cheap and dangerous.