I've always identified people's taste in music as being kind of hetero and/or homo - there's music people like because they feel like they have aesthetic similarity to it and the music they wish to create, and then there's music that represents the other, that they listen to because it represents an escape from the music that they have to make.

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.

Its easy to gauge the worth of a man, just ask them what they think of Yoko Ono.

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 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.

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.