I don't particularly believe all love is doomed. But I guess, one is usually kinda suffering from some aborted love affair or association, rather than being at the peak of one. I think it's fairly obvious that a lot more suffering goes on in the name of love than the little happiness you can squeeze out of it.

In the hysterical technocracy of modern music, sorrow is sent to the back of the class where it sits, pissing its pants in mortal terror.

Moving to the country is a very bold thing to do. You can have vague romantic notions about doing that, but in actuality, it can be a terrifying thing.

Songwriting, I have to take myself away from everybody to do. It's an unsightly act.

The reason I've gotten into script-writing, which was accidental to begin with, was that I found it was a far more effective medium for violence. Which is something that I'd always written in songs, but the violence always sat strangely within a song. And I was always interested in the way in which you listen to murder ballads and things like that - these weird lines would kind of come out, like, I drug her by the hair or something - that sat weirdly in the song. Film seems to be a medium designed for betrayal and violence.

The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song.

I write hate lyrics really well. It's not every day you can use them, really.