“People were like, ‘he’s collaborating with Taylor Swift’ and I was like, ‘I am?’ I think she’s wonderful. Her songwriting has inspired me for years.”

To me, as a producer, I always want something to set stuff apart.

I usually don’t like to annoy people in asking to work with them.

I’m just obsessed with music I guess.

I feel like a lot of music producers have, like, the same toolbox. And I think, like, to me, as a producer, like, I want something to set my stuff apart.

Obviously I’m very grateful ‘Bad Guy’ is doing so well – it’s shocking and surprising and gratifying – but I do think it’s important to try to make the next song that people are gonna be excited about.

People don’t come to see a Billie Eilish show to come to see me. They come to see her. So I just try not to screw up too much on my instruments.

When I wrote ‘When the Party’s Over,’ it had a universal quality.

I had a very positive, wonderful, happy upbringing, and still, for several reasons, I really didn’t enjoy being a child very much. I felt that I had no control over my life and everything seemed scarier and larger than life.

What I really didn’t want to do is work with other people and have them go, ‘Oh, Finneas just does that sound for everybody.’ The Billie sound is only Billie – I’ll only do that for her.

I don’t think if you set out to make an album to get a bunch of Grammy nominations… you just have to set out to make an album you’ll really love.

I am just fascinated by music and I want to know how to identify all the things I love about it; to me music theory is like learning another language and then being able to explain how much you love something more clearly.

I love pop songs so much and I don’t put a ton of pressure on myself as a solo artist to always write the most commercial feeling thing, I just want to write things I would love to listen to.

My dreams as a kid were so far below the Grammys, like, maybe selling out a show, or, like, seeing your album on a shelf in an Urban Outfitters… and the Grammys are so far above that. It’s very ridiculous.

I never get tired of writing about love.

If you need to record live instruments, especially drums, it’s still best to do it in a studio.

To be honest, I’ve found so many more friends in the music industry than people I disagree with. I certainly haven’t been made to feel like an outsider.

Success takes communication, collaboration and, sometimes, failure.

I know when it comes to the actual narrative of my solo music, it’s its own thing. That’s why I went out of my way after ‘Crew’ to not do a bunch of collaborations.

I mainly try to foster long-term collaborative relationships.

If you’re going to write a song, try to get together with a collaborator because it’s better to write with collaborators.

The only thing that permits human beings to collaborate with one another in a truly open-ended way is their willingness to have their beliefs modified by new facts. Only openness to evidence and argument will secure a common world for us.

Going with the flow is responding to cues from the universe. When you go with the flow, you’re surfing Life force. It’s about wakeful trust and total collaboration with what’s showing up for you.

If there is something magic about the collaborations I have with actors it’s because I put the character first.

Nothing new that is really interesting comes without collaboration.