When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.

I probably protect myself by not asking myself too much.

I've thought about bands or performers who appear from nowhere: You come out of the greenroom in this secure little unit, then you do this thing and you're shielded from everybody. I'm thinking of brilliant people, like Mariah Carey, who have no interaction. They interact with the audience at the time of the live thing but there's no build up and there's no afterward.

When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.

Sometimes I start with music on and then I get distracted because I'm working to a different rhythm; I'm not working to myself. So, I don't have music on when I'm working.

I don't analyze too much, because then I'll question, 'Why do I write down all of these random little phrases?'

I like actual songs and bands, but it's usually parts, like the production, the bassline, the drums, that I'm really attracted to.