“All the albums that I grew up listening to were produced by one person.”

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.

I’ve learned a lot from my mom and my dad. I learn a lot every time I watch Billie perform.

A lot of the time, in pop music especially, there’s reverb. And the reason is that reverb makes vocals sound better 99% of the time. It makes the notes ring out.

Definitely for me and my sister, wherever we are the most comfortable is where the best music’s going to be made.

I always wanted to be on tour or making albums.

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.

When you have a reputation for making not only good songs but great albums, that in itself creates added artistic pressure. But, at the end of the day, I guess that pressure is something I welcome.

My first album was mainly dealing with street issues, and it was ‘coded’: it was called ‘Reasonable Doubt.’ So the things I was talking about…

I don’t sit around with my friends and talk about money, ever. On a record, that’s different.

You make your first album, you make some money, and you feel like you still have to show face, like ‘I still go to the projects.’ I’m like, why? Your job is to inspire people from your neighborhood to get out. You grew up there. What makes you think it’s so cool?

MTV made a huge impact. Heavy rotation took you from selling 1m albums to 20m albums, and that meant a lot of dough.

We’ve made bad albums in the past, and people have bought them. I don’t know. I don’t care. I’m just grateful for it.

I would sit down with a guitar and write 11 or 12 good songs for an album and that is gonna take a long time.

I’m about a 20-handicapper with a guitar. I can only play three songs on my own album. I did the lyrics, not the music.