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

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.

What we've proven is that you can protect the environment, use it wisely and grow the economy and that there is no conflict between the two.

I think the human body is beautiful, and I don't really have a huge problem in dealing with it, but it's the context, the environment and what I feel about it that that makes the difference for me.

Organized Christianity has always represented immortality as a sort of common heritage; but I never could see why spiritual life should not be conditioned on the same terms as all life, i. e., correspondence with environment.

If you're going to be at a job environment, you should love it. You shouldn't do it just for money. You should do it because you love it. And the money comes naturally.

When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.

An organization's reason for being, like that of any organism, is to help the parts that are in relationship to each other, to be able to deal with change in the environment.

The only way to save a rhinoceros is to save the environment in which it lives, because there's a mutual dependency between it and millions of other species of both animals and plants.

In fact, because of their connection to the land, farmers do more to protect and preserve our environment than almost anyone else. They are some of the best environmentalists around.

We don't have to sacrifice a strong economy for a healthy environment.

You get elected, often, if you're a woman, on the strength of the women's vote; then you get into office, and you have to adapt to an overwhelmingly male environment.

But the idea of a man making his living by writing seemed, in that hardy environment, so fantastic that even today I am sometimes myself assailed by a feeling of unreality.