Sometimes the hangover provides inspiration.
The idea of the gay experience, it feels like a relic. I felt like in the '90s when we were watching the gay characters on 'The Real World,' there was definitely a gay experience that was distinct from a straight experience. If you talk to high schoolers in 2017, I don't know that is as much a part of how they experience a social dynamic.
When an old tape machine makes pitch wobble, some people would say that compromises fidelity and would try to get rid of it. But to me that wobble adds richness, it instantly brings back the feelings you associate with old recordings.
As a person who doesn't identify as straight, any love song I write is contextualized by a queer identity.
A lot of what being a producer is, is giving people space. Like psychologically being there to help them realize what they're trying to do.
What I love is the openness of collaboration.
I never identified with 'indie,' I don't like that word.
In some ways, the more that I write songs, the more I feel that telling a story is the most important thing; just being able to close your eyes when you hear some lyrics and go somewhere.
Classical music can be catchy, so can African instrumental guitar music. It's not just pop songs that are catchy. Rhythms can be catchy, too.
I am a very big fan of Brian Eno, of his work as an artist and making his music, and as a producer. In some ways, I have looked to his career as a model for my own.
I'm always making beats, and when I can hear Ezra singing on one of them in my head, I send it to him. That's one of the ways that we've always worked together.
Films should involve a director's idiosyncrasies as much as possible I think.
When my mom was pregnant with me, my parents moved from France to America.
I was listening 'Plastic Ono Band,' the John Lennon album a lot, and that might have had some inspiration on me.
I'd like to release solo songs on a regular basis, but it's pretty difficult for me to finish them.
I can't even begin to express the joy I get from writing songs, both on my own and with others, I hold it all sacred.
Whatever you are making, whether it's a song, an album, a painting, a film, you're connecting with a tradition, and I do feel connected to New York music.
I don't identify as white. I have a complex relationship with whiteness.
When I moved to New York, I remember thinking, 'I'm never going to live anywhere else.'
It's hard to make music that's sexy that's not cheesy.
