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My being some kind of celebrity - not a real celebrity, isn't a welcome part of the job.
I usually know what kind of song I'm after. I know what I'm trying to do when I start. I don't always get there. But I try to visualize what it's actually going to be.
I suppose I like to give people something to talk and think about. I can just be the person that kind of put a message in the bottle to see where it ends up.
I do say no to lots of things, actually! I know it doesn't look like it. But I have a tendency to a) be rubbish at saying no, and b) be pushed by some kind of Protestant work ethic.
Thank heavens when the first single Bye Bye came off this album work started to pick up, then I'm Alright has taken us across the world. Radio has been very good, it has chosen to be kind to us.
It sounds corny, but it's absolutely true: A song chooses me. I don't go looking for a certain kind of lyric. It kind of develops its own little arc and I'll just see what happens.
For the past few years, I was the more visible Asian performer, and I think it gave young girls a kind of role model showing it's possible to actually reach success doing movies.
If you want to understand what you're thinking, you kind of have to work it through and write it. And the only way to work it through, for me, is to write it.
To work with Kaz on this kind of project is a fascinating process...He seems to be Dogen himself when offering the translations that we Western collaborators then refine with him.
He’s not your typical prince, more like a square peg in a round hole, kind of like me. He’s the sort of guy who wouldn’t mind reading side by side on a date.
I think there is something to being curious about your choices, but not wanting to kind of pierce the bubble of them, because it takes away from the act of discovering.
So I've always been kind of an apocalyptic kind of kid, and looking back at the movies I've done, there's some kind of apocalypse in them. So that must be what scares me... besides Republicans.
With Los Angeles, it's kind of a love-hate thing. Sometimes I think it's marvelous, and sometimes I think it's a dump. It's so fake and I can't deal with how fake it is.
You must show how gruesome that death is because if you don't, then you turn into some kind of comic book and pain, then death, doesn't have a consequence, and pain doesn't have a consequence.
I did [Henrik] Ibsen and [Anton] Chekhov for years. Obviously I didn't get the kind of recognition I have now. Somebody once told me, "You ride the horse the direction it's going."
Learning how to relive again on life's terms sure doesn't do much for your confidence. You have to kind of walk in faith that the next step is going to be just a little bit better than the last step.
Solos I kind of [couldn't] care less about. I know most people probably think that's what I care most about, but it's really the melody playing that is the cornerstone of what I'm working on.
I'm quite spontaneous in my decisions often. Your career is kind of what happens whilst you're busy developing other screenplays, and so it came out of the blue.
Most of my choices come about through some kind of intuition or instinct, and if I need to, I'll post-rationalize them, intellectually, afterwards. But generally, they come about just by feeling.