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 was able to notice in a very early stage, there were discrepancies between the people who are writing the songs and discrepancies about the self that I was writing about. I was feeling that there were all these different people, both writing the record and having the record being written about them, even though ostensibly it was me sitting down and documenting a series of life experiences. Part of that, when I recognized this unconscious thing I was doing, was about these spaces, about these gaps.

I ended up writing songs by taking stock of all the different events in my life, but all those songs were bad.

Writing for film is so different; it's such an act of submission, both on a monetary and time level, because you basically kind of have to just set everything else aside - it's like suddenly getting a temp job that requires you to work 16-hour days. Also just aesthetically, you have to completely leave all of your ego out of it.

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 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 desperately want children. I want like four of them. But I will never have them, I mean at least with the current circumstances, living with my boyfriend.