You write a scene, and it works or it doesn't. It's immediate.

I don't have any authority to talk about the domestic policies of America. But as an outsider, I am mystified by the fact that you are encouraged to buy a gun, but if you use it for the purpose that it is expressly designed for, you get the death penalty. That aspect of America is kind of mystifying.

It's very intuitive, the way that I approach my work. I only buy something that has a pulse. I may not know how I'm going to use it, but I know it has a pulse and it has multiple readings - if I shift it one way or another, it can be read this way or it can be read that way, but both readings are critical and very much ground the work.

You write a scene, and it works or it doesn't. It's immediate.

At the end, we're kind of observers - creative people, I mean. I feel like an observer, and I'm pretty much able to step out of things and see how things are playing out.

Sometimes the song isn't strong enough to contain the fiction, because memories are fictions.

It's very important that the music has a sense of adventure to it, and that it's done by the seat of your pants. There's a kind of nervy element about it.