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You get lucky and you capture that magic in that one moment. You're not going to get it again no matter how many times you do the song over and over and over.

I think 'Lost Boy' is more of a metaphor for oneself. When I listen to that song, I don't picture someone else. I kind of wrote it from a very honest place.

When I got my first email from a record label, I decided I didn't want to go in with just one song, so I sat down and kept on writing.

A lot of people build up a backlog of songs and you can kind of go, 'Let's explore that song we did six years ago,' but we feel that's kind of lazy.

Occasionally and all-too-infrequently a song comes along that jolts you and you prick up your ears.

I have a passion for music, and I enjoy the process of expressing myself within the parameters of a pop song, and I don't do it to seek anybody's approval, necessarily. Obviously, you go on stage, and you enjoy it when people respond to a particular song, but the overall concept of playing music I do for myself.

'Prima Donna' is my kind of love song to opera but it's not the full experience.

A song is a short composition for voice and instruments. It is a piece of sung poetry set to music. It is usually only a few minutes long.

I feel the most centered in my life when I'm performing a song.

From the engineer to the producer, all of these roles are critical to creating a song.

When you're sitting in the basement trying to get on, you have no choice - you've gotta figure out how to make a song: 'I've gotta bang on these buttons until it sounds good.'

I never want to write the same song twice as it's super important to me, I never want to make a safe choice.

I'm so jealous of my friends who can write on tour - but there was once when I was jet-lagged and wrote a song at 3 A.M.

I was nine or 10 when I wrote my first song. I'd write about traumatic things that I've never gone through, such as the things I saw on TV.

I would like to write or make a completely ambient song.

I always want to write a song that really relates to me and that can relate to a broader audience.

After I dropped the 'Big Mouth' snippet of me in the studio, it went crazy. Then I dropped the actual song, then I saw the reaction. That's when I knew something was up.

What's great about 'Spy Hunter' is that we have an amazing title, an awesome car, and a great theme song, and we can use that to launch a new franchise that hopefully will compete with the other ones but just be kind of the more fun, video game version of a spy movie.

I always felt each instrumental and vocal inflection had to be special... I'd spend almost as much time on those as I'd spend on the song itself.

I've always been a bit of a Jekyll and Hyde. I always feel that you should keep singles as commercial as possible so that the people can walk down the road and whistle a song. But on the other hand on albums I think you can afford to show people what you can do.

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