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.