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It always helps me connect with characters, to think about what music they respond to.

When I go to see people, I always kind of hope they are going to play some kind of songs I know. So you've got to know your audience. It's kind of something that is a blessing and a curse in a way. You're obligated to play some of that stuff that people know, but I don't think that's all you have to do.

And whether you're drawn to gospel music or church music or honky-tonk music, it informs your character and it informs your talent.

I don't think shoving my butt into people's faces will tell them anything about who I am. How is that connecting to your audience? What is that doing for your music?

I like thinking of myself as invisible. I find it a very advantageous way to live. Unfortunately, its not the way the music business works. If you don't create some kind of public image, it gets created for you.

In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.

When playing any song in front of an audience, you're watching them experience it, and it changes. In a lot of ways, it's almost like the music is just the background buzz to what's happening between you and the audience in the room.

I want people to listen to my music and everyone to feel included, and I think it's kind of working because all my audiences are always so colorful.

It's interesting the kind of freedom the musical form gives you. The rules are out the window. You can get impressionistic without seeming pretentious. Because it's perceived as an inherently accessible form, it gives filmmakers some leeway.