"I just love that record. It was so beautifully done on every level - the arrangements are really incredible. Her writing, the storytelling is wonderful - she captures these scenes. She has a very casual way of expressing herself and it's very romantic: romantic in a literary way, like the romantic writers. She uses these long descriptions and paints a picture really well. But I think what really got me was the arrangements. The arrangements are so incredible, they're so economical; every instrument comes in when it's needed and then steps away. The texture is always changing. You know how arrangements can be kinda blocky? That's never the case here. I think she worked on them with Ryan Francesconi. They're sometimes very sparse, the percussion is incredible. I don't know how to explain it… I don't know, even the packaging is beautiful. Yeah. Love it."

"It’s a typical choice maybe. I’m a huge Coppola fan – I’ve seen it many times in many different versions and formats and that movie, to me, is just fantastic storytelling, interesting characters, maybe the best war film I’ve ever seen. You are transported into his incredibly exotic world and it tells the story of something that is based on reality but the director kind of creates his own reality. He constructs this horrible place – his own interpretation of hell and he that makes me believe in it. It’s a movie that I can always watch again and never get tired of, and it always feel like I’m in the presence of a genius magician. I think I prefer the theatrical cut of the movie. The Redux, with the scene with all the French colonialist people, I didn’t feel added much."