As a person who doesn't identify as straight, any love song I write is contextualized by a queer identity.

When my mom was pregnant with me, my parents moved from France to America.

Films should involve a director's idiosyncrasies as much as possible I think.

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.

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.

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.

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.

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.

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.

I'd like to make an album with Slack one day. I'd like to use it as a collaborative tool. I know about it because I have friends that work in tech, and I guess you can use it in any job.

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.

I think that for a lot of us gay people, we do feel that pop is our music. We identify with it and its iconography, and that's been a tradition.

I always want to be somewhat uncomfortable. But at the same time I want to make music that you react to viscerally.

It's interesting because neither of my parents play instruments. They both love music, but neither of them are musicians. Somehow, I was drawn to it.

Only a straight white person would have no concept of what visibility is. They've never contended with anything but visibility.

There are songs out there in the world which, in some ways, seem so unmusical.

A lot of people get a high from being onstage. I found ways to enjoy it. But I get it from being in the studio.

I've always had a complex relationship towards my identity as an American.

I like there to be some secrets.

There's a bunch of rules that I want to break. I have a rule-breaking streak.

I figured out that it was important for me to have my identity, just live independently and like being myself, musically.

I never identified with 'indie,' I don't like that word.

What I love is the openness of collaboration.

Sometimes the hangover provides inspiration.