In the middle of 'Bleed Red' coming out, a huge disproportionate majority of people in radio came to us and asked if they could have 'Cost of Livin' as a single. There was even talk behind closed doors about pulling 'Bleed Red' because they had caught wind and heard 'Cost of Livin'.' We went with that.

I went to 13 schools in 12 years. We moved all over the place. Music was the only thing that I could get behind... I wasn't that good at socializing. I'm still not.

What I've learned by going out and playing smaller venues and being more in touch with people is getting feedback, just by virtue of being able to watch the crowd react and watch their faces instead of being blinded by 3,000 spotlights. I've realized that you can quickly get out of touch with your audience if you're not careful.

People ask you all the time, 'Why do you do this? Why don't you quit, man, take your money and go home?' I just do it because I love making music.

I like to collaborate on my music. The creative process is fun, and you get a lot of ideas from having discussions about it. Ultimately, the final decision is mine.

In fiction workshops, we tend to focus on matters of verisimilitude largely because such issues are so much easier to talk about than the failure of imagination.

In running my own company, I was too busy for a while, and I thought, 'Maybe I'll stop dancing for a bit.' It was the worst decision ever. I just lost my creativity and my drive.

Because of the wealth of fine music spread through the film, working on it held all the fun and excitement of attending a great concert.