But I can't confront the doubts I have. I can't admit that maybe the past was bad, and so, for the sake of momentum I'm condemning the future to death so it can match the past.
If you're an artist trying to put out your own record on your own label, it's hard to get a distribution deal because no one wants to sign a deal with one entity. They want to sign distribution deals with labels, who have lots of product, lots of artists.
What's interesting to me is drama and conflict. Things aren't interesting without conflict and resolution of conflict - or striving towards a resolutions of conflict.
Better take the keys and drive forever. Staying won't put these futures back together. All the perfect drugs and superheroes wouldn't be enough to bring me back to zero.
For me, there's a fine line between telling a story that's fictional with lots of details and then removing yourself too much from it, so it's bloodless, a little too fictional.
Everyone's just extracting meaning and feeling and emotion from almost every aspect of music, and I think that for me, it's a huge antidote to that to have a concept album.
I have a 6-year-old, and his thing is to turn on Radio Disney in the car, and I get such an allergic reaction to listening to that music and the context into which it falls. I'm really working on him about that.
It's more important for me to have a good record with good music and be part of a movie that's good and where the music is used in a really great way. That's the important thing. The other stuff you want to say about it, I don't care.