"I want to keep different options for different futures open all the time." — Caroline Polachek

And a pang is ultimately private. It's not a thing that gets broadcast to the world; it's a kind of internal alarm that sounds when something has to change and it has to change fast.

Driving in Chicago wins over New York; people are so fast. It's almost like there's a subliminal street racing culture here. They drive like comic book characters.

I just started studying opera - very, very much as hobby - and for some reason I've been gravitating toward French composers, like a lot of Debussy and Faure. I find it a really sinuous and spooky language to sing in.

One of my biggest Disney influences in terms of world-building on this record was a background painter named Eyvind Earle, who was working in the '50s. He would make hyper-modern shapes that were sharp retellings of pastoral themes.

I used to obsessively draw. I was really good at it.

I woke up in London one morning in the middle of an adrenaline surge, and I was just lying there - the sun was coming up - trying to think of the best way to describe this feeling, and 'pang' was the only word I could really use to describe it.

I'm a horribly chronic 'get half way through the book and start a new one' person.

Many of the elements associated with storybook mythology and gothic aesthetics are actually not expressive.

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I want to keep different options for different futures open all the time.