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I just thought that it was magical having to glide across the ice.

To do anything truly worth doing, I must not stand back shivering and thinking of the cold and danger, but jump in with gusto and scramble through as well as I can.

I feel like when I get the demos - I get a lot of demos - but when I get the right demo, I get very inspired. I produce around it, and it often goes very fast.

Whenever I go on a ride, I'm always thinking of what's wrong with the thing and how it can be improved.

This has been a great experience for me. The first couple of days you don't always feel too well. You adjust to the fluid shifting, how to fly through space without hitting things or anybody else. But then you get in a groove.

I try to keep it real simple. I try not to add a lot of frosting on what I'm doing. Just take the swing and don't muscle the swing, because if you get in the hitting position and you take the swing, I generate a lot more bat speed, and that works for me.

It's actually very freeing to be given permission as an artist to let that ride and to really let it ride, to actually experience it and bring it out of you. It's been uncomfortable and it's freeing at the same time.

Imagination is a pretty powerful thing, and when you're in the moment and you're riding a train and you're asked to look scared, I don't know, it just kind of works out. And in those moments where you're actually doing some of the stunts, then it's not so hard at all, because there's an actual fear there.

For me, the creative process, first of all, requires a good nine hours of sleep a night. Second, it must not be pushed by the need to produce practical applications.