I do feel like my music, in some weird way, is probably better suited for cinema than for anything else - I can't really explain, other than I think that music has been mostly inspired often by soundtracks.

What was pretty crazy was to plan a wedding around a tour. It felt very getting-hitched-in-Vegas style. It was like, we played a show in Salt Lake City, ran to New Mexico, we got married, and then I was off to Lisbon.

I think I spent more time on the mellotron than on any other instrument in the studio, and it got to the point where I was like, "Well, you can't write an entire album on this instrument." But maybe I would!

I like to think that location, travel, etc, is a launching point for purely imagining.

I mean the reason that I started writing close to home, "Santa Fe," et cetera, was a kind of looking back on past events. I don't know, it's just some of the dark spaces I've been. And it feels like with a music career and whatnot, I've been able to crawl out of those places. So it's interesting to look back on them and try to hold on to the feeling of what you went through.

I could probably spend the next five years reworking an album from ten years ago, if given the chance, to make it better - make it best, so to speak.

I tend to hear rhythm and melody, chord-progressions, long before I hear words.