Being able to hear an artist and emulate them has been a huge part of being successful as a producer and co-writer. I think it's a problem when a producer comes in to work with an artist, and you can't hear the artist as well anymore. It's very important to me to be invisible.

If you're paying attention and you've been a good listener, you learn every day.

So, I'll walk around with - just an iPhone will work - but sometimes I'll bring, like, a little mobile recorder and I'll just, like, if hear an interesting sound, I'll just record it. And then later, I'll listen through them and I'll go like, 'I wonder how can I use that?'

I don't think if you set out to make an album to get a bunch of Grammy nominations... you just have to set out to make an album you'll really love.

Production has always been a fantasy of mine, and I got really lucky and had a sister who put a lot of faith and trust in me, and was very collaborative, and was willing to let me produce her entire album.

Everything sounds better when Billie sings it, so the only ones I'll keep for myself are ones that really feel just super personal to me in their content, like this is my life story and maybe not anybody else's.

I find that when I'm in an argument and I'm angry, I can't even form a sentence well. You say something and then later you're like 'That's not even what I meant at all!'

I'm a big believer in the benefit of a home studio. You're sitting there and maybe you don't know the next line. So you go outside for a second, maybe. Make a sandwich. Play with the dog. Or watch an episode of 'The Office,' whatever. And then it clicks, you run back into the room, and you've got it. It's not like your creativity is on the clock.

I don't particularly like recording studios, they tend to be lifeless and without any natural light, so I wanted to record wherever we lived. We just don't want to be bound to a studio to who we'd have to pay untold sums to.

If I have experienced something in my life, it's probably going to be written about, and I don't particularly care if the person I'm writing about wants to be written about.

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.

If I'm making a song with Billie, then it's for Billie... She has to want to wear that song every day. And I think I try to do the same thing when I'm making a song for myself... I try to treat them both that way, like I'm sort of A&R-ing her and then A&R-ing myself.

I think if you're not trying to change things a little bit, you're not evolving.

There's no other person I like working with as much as my sister.

I mainly try to foster long-term collaborative relationships.

What I really didn't want to do is work with other people and have them go, 'Oh, Finneas just does that sound for everybody.' The Billie sound is only Billie - I'll only do that for her.

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

I idolize my kid sister, so I get it. I understand why other people do too.

I came to NAMM once and saw this guitar that self-tuned, and I thought, 'Wow, this is the future!' And I've never seen it again.

Everybody has different taste and everyone's favourite song is different and that's great.

For me, I'm going to try to make my favorite song over the most popular song.

I'm not an author, but as a songwriter, I'm afforded this kind of luxurious ambiguity in songs of being able to confess the secrets of my relationships with people and face basically no consequences, or ask for no approval or permission.

To me, my favorite joke on a stand-up special is when someone says something and you go, 'Oh my God, I've been thinking that my whole life, I've just never said it to anyone else.' Those little kinda quiet, personal observations you make that nobody else has talked about yet.

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

I think that, for us, the thing that no one can take away from you is that if you make something that they've never heard before, they're gonna respond to that. They may not love it, it may not be their favourite thing, but no one can take different from you.

Kids have tools to do what I'm doing.

It's always important to be checking in with people you love.

I think the whole response to our art being so positive is that it rings true and it feels a unique thing and I feel that was the thing that we strive for in the beginning was to not conform to any preconceived notions of what we should be doing.

In my perfect world, I get to be a professional musician and still go to Trader Joe's.

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.

My feeling is that everybody starts out as an emulator. You follow their approach and that's how learning works. The pivot is that I don't think you're going to break new ground unless you do something different.

I love pop songs so much and I don't put a ton of pressure on myself as a solo artist to always write the most commercial feeling thing, I just want to write things I would love to listen to.

You know, I grew up very self-taught.

The excuse of having a dog is great, because before I had a dog, I wouldn't be like, 'I need to go hike for two hours'; my girlfriend would have been like, 'What are you doing?' Now I take the dog, and she comes with me.

When we are making a song for Billie I want it to resonate and speak the truth with her and want it to be a piece of fabric she can wear.

I just have no interest in being at a party.

If you can use songs as a tool, vehicle for empathy and a deeper understanding of how people are feeling and how people's emotions work, there's a lot of good that can come from that.

I'm a bad guitar tuner. I have to pay somebody to tune my guitars.

Even though we're all together making songs and I produce them, it's so her vision. Especially when we walk out on stage every night. It's so meticulously thought through by Billie and I admire that endlessly in her.

In the alternate reality where I wasn't involved at all, and I'd been like, just, sweating my way through, trying to have a music career for years? And then my sibling had one and I wasn't involved at all? I think I'd be very tortured by it. But the fact that we've had one in tandem makes a lot of sense.

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

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.

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.

The amount of times I've been told something by artists I'm working with, which I'm sure they haven't told even their significant other or families, is shocking.

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

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

There's always a better word than a swear word.

When I wrote 'When the Party's Over,' it had a universal quality.

I try not to shy away from specificity.

Working on TV shows was fun, but I felt crazy pressured and stressed.