“I mainly try to foster long-term collaborative relationships.”

You go to a truck stop and there are key chains with names on them, and there’s no Finneas. There’s no Billie. They’re little things, but as a kid, you just feel weirdly ostracized.

I really value just being able to go out and grab a coffee or going to a movie and not have anyone recognize me.

You know, that’s kind of always been our philosophy: not letting the place that we are get in the way of making great music.

Kids have tools to do what I’m doing.

I have always loved Ben Folds, he’s like an idol of mine, a hero of mine.

When I started, I felt that there was this incredible amount of doubt of my ability as a producer.

I think it’s really easy to be the altruistic hero of your own narrative and story.

We were a very crunchy, sort of hippie-dippy family.

I don’t really have any interest in recording at places that are institutionalized for recording.

All my favorite songs ever are love songs. Probably topped by ‘The Luckiest’ by Ben Folds.

I stopped telling people what lyrics meant to them when I saw them tattoo it on them, because it clearly meant much more to them than it ever did to me.

Imagine if somebody was like, ‘Who’s the next Timothee Chalamet?’ It’s like, he’s currently Timothee Chalamet.

It’s important to recognize when a song remains important to you.

I was on a TV show called ‘Glee.’ I mean, I was on the real tail end of that show; it was already way past its peak. But still, for me aged 17 landing something like that was a big deal.

I’m not a control freak in that like I boss everybody around, but like a control freak and like, I like knowing exactly what I get to do that day and having a say.

I don’t analyze songs because I think it will make me a better songwriter, I just do it out of sheer curiosity.

They are essentially commitments and attitudes that foster collaboration and positive collective action.

I suppose I’m the only person who remembers one of the most exciting of his ballets-it’s the fruit of an unlikely collaboration between Nijinsky on the one hand and Sir Arthur Conan Doyle on the other.

What happens is that the experience of writers working together and the idea of creative collaboration is so delightful, but it has been relegated to TV.

I think people underestimate the value of collaboration, especially for writers.

I believe [the architecture firm] Herzog and de Meuron and our collaboration made the product the best it could be.

He is fearless and the way he comes to the music is like we share the same passion for what we do and with somebody from the West. In my opinion that would be a great collaboration.

The future of cinema and communications is all about collaboration and the decentralized control of storytelling.

Basically, I enter into it knowing we are collaborators.