I actually didn't find out about a lot of music until I was older. Some people have been listening to the Beatles their whole lives; I didn't discover them until I was 18 years old.

All human interaction, you can break it down to incentives. All relationships, at some level, are transactional. They're fascinated with incentives.

I think often people fall into the breadth trap of wanting to do too long a period of time, and obviously there's this sort of algorithm of how much depth you can put into something times how much of their life you're trying to show. My attitude has always been, I'd rather show a briefer period of time in more detail than a longer period of time in less detail.

It's become absolutely horrible the way the people with the money decide they can fart in the kitchen.

Jude [Law] is really good at playing an obsessive. He has a very watchable quality when he's on a quest for something.

You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.