I think that all music is inherently political, and, at the same time, I'm interested in the politics of inclusion not exclusion. So I think that my goal is to make music that anybody can hear and feel moved by.

When an old tape machine makes pitch wobble, some people would say that compromises fidelity and would try to get rid of it. But to me that wobble adds richness, it instantly brings back the feelings you associate with old recordings.

I tend to use different microphones, different mic techniques, and different recording mediums - like analogue tape - that evoke multiple eras of recorded music at the same time.

I feel like I've had this ability to infiltrate, as an outsider and an insider, different groups.

There's a logic today that places a greater value on celebrity the less it is accompanied by actual achievement. I don't think it's possible to touch people's imagination today by aesthetic means.

I'm very organic in nature with my creativity. It just kind of wraps around me, or it's a moment I have, a click of inspiration. It's never calculated.

I act, produce, and direct. They are three different jobs all within the same realm of creativity. I enjoy all of them equally, but ultimately, I'm an actor.

To me there's no creativity without boundaries. If you're gonna write a sonnet, it's 14 lines, so it's solving the problem within the container.