I actually think sadness and darkness can be very beautiful and healing.

My first two records were more energetic; Phantom Moon is subtle, quiet; so these various reactions are just something I expected.

Because of my Buddhist practice, I'm never lacking for inspiration.

If I were to do this over I'd play a lot more shows before I made a record.

The difficult thing about a pop record is that you're given guidelines: it has to have 3 choruses, and then it must be between 3 minutes fifteen seconds and three minutes forty-five seconds.

I certainly wouldn't say that my life is a disaster, but there have been moments where I've felt like that.

I mean, at the end of the day when I'm making a record, what I want to do is what I do.

I also wanted to make a record that was about other things than romance, yeah, after two years on the road singing all the songs from the first album, I got kind of tired of that.

I actually am always a music first person.

But really important, perhaps most important is the craft; how you make your record, the creation of these sonic worlds you want your listener to hear.

I'm fortunate I have this coterie of musicians around me to help take music to next level. Being surrounded by so much creative energy, so many creative people really feeds that creativity in me.

My second record was all about big ideas - I was trying to make big statements about the culture, about life. I think in a certain way, I was a 27 year old kid with a guitar.

Simon Hale, the British arranger, does all string and wood arrangements on my records.

I try to make sure that the Buddhism is more or less implicit in the music rather than explicit.

Lately I've been a workaholic. I'm in the studio all the time and I've helped to produce a couple of artists.

Things come to me pretty regularly. There is never a shortage or a backlog.

And frankly, when I made that record, hit songs were not what I was trying to achieve.

I got a publishing deal with BMG, they were supportive, and some money to record demos.

The experiences of promoting my first album were really something; there is so much illusion in my environment (touring and pop music) that I wanted to clear away.

But I can't really say there is too much modern music that I'm blown away by at this moment.

So, once I've written a song, you know, I'm pretty happy with what the song is on its own terms.

It's inevitable your environment will influence what you do.

I wouldn't say that I've had a tough life by any stretch of the imagination.

I actually think sadness and darkness can be very beautiful and healing.

Ultimately, if I'm really moved by something, it's going to go on the record and that's that.

I make the kind of music I like.

I think my Buddhist practice has a profound influence on my life and encompasses my creative projects.

I'm a pretty big P.J. Harvey record fan and you can really hear New York in his record.

Happy music doesn't tend to move me much.

I'd have these weird experiences where I'd just be walking down the street with this chord progression in my head, this happened more than a few times, and I'd walk home and find a fax in my machine and it would match the music in my head.

I think in a way I was probably completely naive about what it takes to make something become a hit.

I started playing music at a pretty young age.

I feel fortunate about being able to make the music I want to make and getting away with it.

For my second record I had gotten ProTools (program) and started to familiar myself with hard disc recording.

So I started chanting when I was nineteen, which was about twelve years ago, and it really had a huge impact on my outlook, happiness, and general creativity.

I privilege the music over the lyrics.

A real foolproof way to do it is play your stuff by hook or by crook and build up a grass roots following.

Its inevitable your environment will influence what you do.

Strange - is it not? That of the myriads who Before us passed the door of Darkness through, Not one returns to tell us of the road Which to discover we must travel too.

A work will only have deep resonance if the kind of darkness I can generate is something that is resident in me already.

Everything has its wonders, even darkness and silence, and I learn, whatever state I may be in, therein to be content.

This is an area you always need to address when you're dealing with Dracula is the fact that there is something kind of attractive in his darkness - which there isn't in other horror characters.

Sometimes it is better to light a flamethrower than curse the darkness.

Science has explained nothing; the more we know the more fantastic the world becomes and the profounder the surrounding darkness.

But I notice that there is a lack of darkness in my movies and I don't know where that comes from.

I think seeing Pryor's first movie, Live In Concert, when I was in high school changed my life. Pryor really put the heart in darkness for me.

In Sleep we lie all naked and alone, in Sleep we are united at the heart of night and darkness, and we are strange and beautiful asleep; for we are dying the darkness and we know no death.

I really believe that all of us have a lot of darkness in our souls. Anger, rage, fear, sadness. I don't think that's only reserved for people who have horrible upbringings. I think it really exists and is part of the human condition. I think in the course of your life you figure out ways to deal with that.

And suddenly, like light in darkness, the real truth broke in upon me; the simple fact of Man, which I had forgotten, which had lain deep buried and out of sight; the idea of community, of unity.