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When I have a breakthrough in music and I hear the melody in my hands: that's when I get compelled - something in my gut just has to rise up and sing and put something to that.
The foolish idea that my music can actually make a difference in someone's life - that right there is proof that it's working. It makes me feel great, it really does.
I always have the TV on. When there's no TV, I play music. I like having noise. I think that's why New York is so suitable for me, because it's never really fully quiet.
I'm especially interested in the music of John Cage... I would like to do some experimenting with the relationship between his freeform sound and free-form art.
Country music turns the stuff we say every day into a soundtrack...taking an ordinary working man like me into that rough, happy country of longnecks and short tales.
The best songs of this [modern] period - the apocalyptic "High Water," for example - return [Bob] Dylan to where he was in his first phase, updating and transforming American traditional music.
When I do music I don't do it with a purpose in mind. I just feel like it's a little bit contrived if you try to do something like that. It's got to come organically.
Because I'm always so paranoid about doing corny things, or cheesy things in music, that often I probably don't make as good music as I could if I wasn't stifling it so much.
What a lot of people don't understand is that the music that they're hearing is usually months, and in some cases, years old. So I'm a lot better than whatever material people have been hearing.
If we think today the way TV is ordering us to think, we think of Einstein as someone modern. Stravinsky is modern music, but it came at the time of Birth of a Nation, which is an old movie.
When we let ourselves respond to poetry, to music, to pictures, we are clearing a space where new stories can root, in effect we are clearing a space for new stories about ourselves.
I think there are some things in music that work and don't work. That's learned from counterpoint and rhythm and theory, and they don't work if you don't want them to work.
Music and text have several commonalities, and one is meter and rhythm. Both spoken word and music have certain regularities, and they can be sub-divided rhythmically.
Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.
My dream project is a sports film, because I love writing emotional music and a sports film is one of the few places you can do it without being melodramatic.
I listen to old Idaho, and there are moments of true inspiration there. I think the music is speaking on its own a little bit more. It's evolving, it's not losing its heart.