I guess it's a little bit sentimental, but at the time I was really very focused in on really my performance. Afterward, it was really just a breath of fresh air, just like, 'Oh, yes, I'm back now. I'm doing good.'
I want what's mine. I see other actors who are doing very interesting roles, and I just want to continue to do things that are interesting, and things that people will go see in theaters.
I was never particularly a part of the following of tango; I just liked it... most of all, I recognized that the urban content and the approach seemed very familiar and very connected to the songs that I was doing, the kind of songs that I wanted to write - the songs about the street.
I'm writing new songs for a Broadway version of Tarzan, which is very interesting. I think what I learned from the Brother Bear score side of things, I've brought into the new Tarzan songs. Thinking outside just guitar, bass, drums and keyboards.
I just always wrote songs as a side hobby. So it was sort of a natural thing to write comedy songs. But when I started writing songs, I wrote very serious songs. Or things that a 13-14 year-old would think are very serious issues.
When I first started writing songs and being very explicit, it was hard, but one of the main things people respond to in my writing is that 'just say it' attitude of my songs. There really is nothing personal or private; it's all universal, if you can just find the courage to be open about your life.
I believe humanity is a pretty interesting lot, and they're all really busy doing and thinking interesting things.
When I first started making music, I didn't really know what I was doing. I just wanted to write songs. I didn't have a concept. I didn't think it through. I was just flailing around doing what comes naturally. It took me a really long time to step back and deal with what I was doing with any kind of perspective or self-awareness.
When I start writing songs, and they come easily, I'm always very suspicious. That usually means they're reminding me of something I've already done before. When the songs become unsettling, and I feel anxious about what I'm doing, that usually means it's going to be more interesting later on when we actually record the stuff.
It's when people come at you on Twitter and say really crazy things. That's the kind of stuff that I insulate myself from. All of that is not very interesting or helpful, but we have critics who sometimes really love us or sometimes don't, and it's really interesting for me to see what they don't like about it.
I do feel pressure from the outside world a little bit just because everybody wants new music, which is really nice. It just proves that everybody likes what I'm doing. But at the same time, I feel like it's important to just chill and experience things and really make the songs true to me.
I thought Google was the coolest place. People there were so smart and they were all doing these really interesting things. I just felt really lucky to be a part of it even in a small way.
Fly flight is just a great phenomenon to study. It has everything - from the most sophisticated sensory biology; really, really interesting physics; really interesting muscle physiology; really interesting neural computations.
I didn't really know what I was doing when I started. I just started writing songs. After two songs I just continued to explore it.
From a very early age, I started to get really interested in how songs were put to tape. Not just listening to the songs, but the way the songs were recorded.
It's just interesting that people don't really know about the roles that I play that are darker. I kind of do a huge blend of really big light things but also really dark indie things, and it just sort of happens to work out that way.