There's this idea, particularly in pop music and a lot of these pop father/manager types, that you're selling the person instead of the song. You basically want to create something that the fans relate to because it's exactly like them. So there's a lot of art that's made to be in the image of the audience, but then the audience is imitating this version of themselves. It's a really weird cultural feedback loop, and it's kind of strange to watch. It's a new thing since I was a kid, really a different thing.

The idea of dancing to bad house music is something I could never get behind.

It would get really alienating, to have my face be the face of a cause. So much just comes down to the songs. I just want to give us the opportunity to write great songs. Even our work in Haiti is limited by how good our songs are. We just need to get rid of as much of the bullshit as possible, so we can have a life, so we have something to write about.

The Flaming Lips have been on Warner Bros. forever, and certainly everything I heard growing up was on a major label in some way, from the Cure to Radiohead to Bjork.

When I was younger, bands helped me connect to part of my humanity; bands that had nothing to do with anything political helped to form me. There's a correlation in that: If people can connect to music, maybe they can connect to each other.

Once I got to know what's been happening historically, it's pretty impossible to un-know it. Like right now, there's the outbreak of cholera in Haiti, and people see that as a news headline, but I know there's half a billion dollars of aid that one senator is putting a hold on, that the Red Cross has raised half a billion dollars but has only spent $200 million.

I think filmmakers all secretly wanna be musicians and all musicians secretly wanna be filmmakers.