I do an opening in 'The Glory of the World' play at BAM, and then I go up to the high balcony in the back and watch the bulk of the play, but then I have to leave my seat about seven to 10 minutes before the end of that final big scene...and it's a bummer.

As far as implying that we know what we're doing, that we have perspective enough - by diving fully into something it requires a lot of denial, and denial is always dangerous even if all of your intentions are good and all your preparations are good. When you make a choice you're denying an infinite number of other choices.

I have a mantra that kind of explains my feelings on this subject, which is, "The past is the present is the future." When you're recording something, you're making something that will exist in the future.

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

I feel much more physically connected to my voice, and I like the physicality of the voice, and how the voice can physically occupy a song.

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 want to be successful and I want people to hear the music and I want to make money at it, but if it isn't what you do, eventually it seems like that will cause you to not be able to do what you do. If you did that for a couple years, you would just become someone else, which is fine, I guess...but I don't want to become someone else. I want to do what I enjoy and what feels right.