I wanted to preemptively make myself as available as possible, so it would be impossible for anyone to form the wrong impression and make me uncomfortable with the way they were digesting my music.

I have this weird thing where all the artists that I find myself engaging with the most are the ones that I have a bone to pick with.

I think the cornerstone for my impetus for doing arrangements for people is because I want to be an enabler. That is to say, I don't approach arrangements with the idea that I want to progressive the genre of arranging. I want to be more of an enabler, and if a person is making a record and they have the option of layering some real instruments down on a track and I can be of assistance whether it is brass or winds or stings or percussion then I do so. Sometimes I do take on projects because it is a pretty sweet deal to work with Pet Shop boys, you know?

I feel like people who actually know how music works on a technical level need to explain it to the rest of us a little more often.

I understand that in people's eyes, classical music is kind of a lost and dying art, but in my eyes, it's like, "Oh, the musical language, which has been, in the past, only available to a scarce few at the top of the tower, is now wide open." Now people's ears are becoming more amenable to fake strings - I think this is great!

I feel as if dystopian and utopian representations are historically the most effective way of criticizing modern society. You know, because you don't have to be factually accurate. You can kind of construct some awesome strawman arguments in your fictional world.

Regarding gay and music, I don't actually think my music is particularly gay at all, because my music doesn't have sex with men. My music does not have a gender, I don't see it as being gay.