Finneas

All the albums that I grew up listening to were produced by one person.

If you need to record live instruments, especially drums, it's still best to do it in a studio.

I really value just being able to go out and grab a coffee or going to a movie and not have anyone recognize me.

I usually don't like to annoy people in asking to work with them.

People were like, 'he's collaborating with Taylor Swift' and I was like, 'I am?' I think she's wonderful. Her songwriting has inspired me for years.

My dreams as a kid were so far below the Grammys, like, maybe selling out a show, or, like, seeing your album on a shelf in an Urban Outfitters... and the Grammys are so far above that. It's very ridiculous.

I idolize my kid sister, so I get it. I understand why other people do too.

To me, as a producer, I always want something to set stuff apart.

You know, that's kind of always been our philosophy: not letting the place that we are get in the way of making great music.

We wrote and recorded the 'Bond' song on a tour bus in Texas.

I feel like the thing that I've learned a lot is when you're involved in something, you don't always get to appreciate it for what it is as much. You're focused on the details and how you can make it better. It's kind of torture.

Well, I mean there are so many producers that inspire me. I used to try to imitate production by certain people. And now I'm only interested in doing the opposite of that. I'm only interested in doing production that like no one's ever done before.

I felt really lucky in that I've gotten to know some of my favorite artists; I get to tell them how important they are to me. But that doesn't always make me want to work with people. I feel like if I'm going to work with somebody, it's because I feel like I actually have something to add to them.

I feel like you're able to be your most creative in private environments, and not a studio where an A&R person is coming in, telling us a song isn't a smash.

If you can use songs as a tool, vehicle for empathy and a deeper understanding of how people are feeling and how people's emotions work, there's a lot of good that can come from that.

You might think of Hollywood as this full-on glamorous thing and to us it was like, 'All right, mom's got an audition. Do you want to sit in traffic for 50 minutes and go in with her?'

I really always wanted to be an adult. I didn't really like being an adolescent at all.

I've learned a lot from my mom and my dad. I learn a lot every time I watch Billie perform.

People don't come to see a Billie Eilish show to come to see me. They come to see her. So I just try not to screw up too much on my instruments.

I'm not a control freak in that like I boss everybody around, but like a control freak and like, I like knowing exactly what I get to do that day and having a say.

I was on a TV show called 'Glee.' I mean, I was on the real tail end of that show; it was already way past its peak. But still, for me aged 17 landing something like that was a big deal.

To be honest, I've found so many more friends in the music industry than people I disagree with. I certainly haven't been made to feel like an outsider.

If you're thinking about all the possibilities of your life, there are extreme negatives, which you hope don't happen, and extreme positives, which you just aren't willing to think about because you think you'll jinx it.

I'm a big believer in the benefit of a home studio. You're sitting there and maybe you don't know the next line. So you go outside for a second, maybe. Make a sandwich. Play with the dog. Or watch an episode of 'The Office,' whatever. And then it clicks, you run back into the room, and you've got it. It's not like your creativity is on the clock.

I'm just obsessed with music I guess.

I think it's really easy to be the altruistic hero of your own narrative and story.

The music that I listened to when I was growing up was the most important to me forever.

I'm not an author, but as a songwriter, I'm afforded this kind of luxurious ambiguity in songs of being able to confess the secrets of my relationships with people and face basically no consequences, or ask for no approval or permission.

I had a very positive, wonderful, happy upbringing, and still, for several reasons, I really didn't enjoy being a child very much. I felt that I had no control over my life and everything seemed scarier and larger than life.

My feeling is that everybody starts out as an emulator. You follow their approach and that's how learning works. The pivot is that I don't think you're going to break new ground unless you do something different.

If you're paying attention and you've been a good listener, you learn every day.

I'm a bad guitar tuner. I have to pay somebody to tune my guitars.

I came to NAMM once and saw this guitar that self-tuned, and I thought, 'Wow, this is the future!' And I've never seen it again.

It's always important to be checking in with people you love.

Even though we're all together making songs and I produce them, it's so her vision. Especially when we walk out on stage every night. It's so meticulously thought through by Billie and I admire that endlessly in her.

For me, I'm going to try to make my favorite song over the most popular song.

I think in modern communication studies, we put a lot of emphasis on our relationships and our family relationships. Our relationships with our parents, and our siblings. I felt that there was this gap in content about communication with people who are super close to you in your peer group.

I find that when I'm in an argument and I'm angry, I can't even form a sentence well. You say something and then later you're like 'That's not even what I meant at all!'

I don't analyze songs because I think it will make me a better songwriter, I just do it out of sheer curiosity.

I love Griffith Park.

The excuse of having a dog is great, because before I had a dog, I wouldn't be like, 'I need to go hike for two hours'; my girlfriend would have been like, 'What are you doing?' Now I take the dog, and she comes with me.

There's no other person I like working with as much as my sister.

I just have no interest in being at a party.

I feel like a lot of music producers have, like, the same toolbox. And I think, like, to me, as a producer, like, I want something to set my stuff apart.

So, I'll walk around with - just an iPhone will work - but sometimes I'll bring, like, a little mobile recorder and I'll just, like, if hear an interesting sound, I'll just record it. And then later, I'll listen through them and I'll go like, 'I wonder how can I use that?'

Well, predominately, if I'm writing for another artist, I'm sitting there with them and we're writing it together.

You go to a truck stop and there are key chains with names on them, and there's no Finneas. There's no Billie. They're little things, but as a kid, you just feel weirdly ostracized.

I think that, for us, the thing that no one can take away from you is that if you make something that they've never heard before, they're gonna respond to that. They may not love it, it may not be their favourite thing, but no one can take different from you.

I remember, one time, my dad took me and Billie to a fair. I was probably 7 years old, Billie must have been 3, and she put footie pyjamas on and then put a second pair of underwear on over the pyjamas. I remember being like, 'What is Billie wearing?!' and my dad was like, 'She's happy with it. Let's go!'

Everybody has different taste and everyone's favourite song is different and that's great.