I think everybody works from a defensive position, for the most part, in the film industry.

To me, recordings are little fourth-dimension artifacts, because they already are representatives of past, present, and future, just inherently in their existence.

One thing that the Internet has created is the sense that information is at your fingertips, when it's really only a very, very limited, specific, and slanted kind of information.

If we were making a record in Kentucky, there might be some more elements that recall a time, a place, or a relationship. Recording for the BBC you enter into this strange and wonderful, but kind of sterile, place with which you have no personal history, and that's the Maida Vale Studios at BBC in London.

It's good when someone says, "Would you write a song for this purpose," or "would you record a song for this purpose," or "would you help me realize this song," again, for this purpose.

I felt so liberated when I first saw Charles Mee’s 'The Glory of the World' at BAM play, because for me this is the gateway to contemplation, or this is the gateway to love, or this is the gateway to faith, not sitting and reading a book by an isolated monk, god bless him. This is.

I figure it's okay to make certain rules, whether or not people despise you for it at the time.