Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.

To me everything is a material, and everything is subject to change. When I work with found sounds, I'm trying to figure out how do I make this come from me?

I love seeing Tim Hecker perform because the experience truly shakes me.

As a movie fan, I remember Quentin Tarantino and Lawrence Bender and the sort of energy around 'Reservoir Dogs,' and the jump from 'Reservoir Dogs' to 'Pulp Fiction,' and how everybody was stoked on Quentin's career.

When people talk about how parameters can generate really good work, there's no better example than working within a genre in film. That's like the ultimate parameter.

Oneohtrix Point Never is total freedom to do what I think is right.

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

I've lost so many gigs composing commercial or television music because I can't repress my inclination to work against conventions.

I loved Alva Noto's 'Xerrox, Vol. 3' a lot. It might be my favorite of his records. I must admit, I was bummed to see him say he was surprised by how emotional the record came out, as if he was ashamed. But there's something perfect about that.

Especially in repetitive music, to make a long piece of music you have to be extremely skilled in your sleight of hand. Just to make long form music it's very difficult and you really have to consider what you're putting someone through.

The way I think about things or hear things in my head is actually much closer to acoustic instruments. I don't have weird synthesized fantasy of music in my head.

Music that is considered minimalism - or post-minimalism music in general - things of that nature or that come from that tradition, or even drone, or non-western music, have a more subtle and more open-ended verticality to them that allows for your own mind and body to be involved.

I knew my whole life that I had to make ends meet or I would be ashamed of myself. I had a lot of pressure from my parents. So that's where my vision comes from. It's not to be a great artist, it's always to be like, 'Dad, look, I didn't let you down.'

I was perpetually this B-minus kid vacillating between eagerness and depression. I wasn't a bad kid, and I definitely wasn't aggressive, but I was a sad kid.

I was a failed grunge kid who was too nerdy to totally get down with rock.

Before puberty, it seems like I was more or less smiling a lot. I was really outgoing and wanted to have a happy life.

You look at somebody like Thurston Moore. Is he a noise dude? A punky dude? Is he a free jazz dude? He's a stimulation chaser, and I relate to that.

I basically am always chasing this super enhanced stimulation from music.

I am not an egghead in the least.

I'm not much of a crier, actually. You know, I tend to cry and get sappy on planes.

I'm predisposed to believe we live in a complicated, enmeshed reality. There's no authentic or organic.

I think I'm a person that's very pessimistic about, like I'm not a luddite but I don't think we need to crack the code of technology and bring forth a future techno utopia.

Film scores are complicated puzzles that you need to figure out and solve very quickly, or else you're basically fired. You're hired to enhance the film and you only have a couple tries to prove that you are capable of that task. I can keep trying to enhance my album ad infinitum.

Science fiction to me is the ultimate art form, because it speculates on bodies and worlds that don't exist.