I'm addicted to the hotel life. It's humbling and fly at the same time.

Sometimes my schedule doesn't allow time to go to the hotel after I get off the plane, so I bring my Freebird boots or my old school Adidas shell-toes to throw on after I land.

It's really rare to come across a character, a show, or a movie that allows you to completely play four or five different characters within a season, let alone a week.

It's an interesting thing to play the heroes of our society, like cops and firefighters. They're the basic heroes that, as little boys and little girls, you look up to as the first heroes of your small, specific community.

I tend to want to put my fingers over my ears and not hear all of that, not hear that there are so many fans.

'Dark Blue' was a really solid show, and it stopped at season two.

You don't go to church and tell the choir how to sing if you're a visitor.

As an actor, I come to set, and I have already broken the character down by writing a poem about the character. I try to write in his voice, the way he would write it.

I've approached every character I've ever played with a poem, first and foremost.

I think I'm an athlete who's trained as an actor, and when you smash it all together, you get whatever Omari is doing as a performer right now.

I think actors make for very good directors, and I would like to do that one day.

If I could remake any Eighties project, it would be less an action flick than a character-driven drama with a rich story to tell.

Like anybody who grew up in the Eighties, I cringe at the thought of these movies being remade, because of the corniness and cheesiness of the originals.

If I can just be thought of as Omari Hardwick who had a really, really solid career, and whose work is appreciated in its own right, I think that would be a great legacy to leave behind.

Unlike many Californians or New Yorkers, college football is a religion down south.

On 'Being Mary Jane,' I learned to embrace sex symbol.

I realized, 'Oh, it's easier to get what I want if I embrace the sex symbol thing.' Microphones are more in my face, and I can say things about the kids that I mentor and open more access to more doors.

I've definitely had my moments in relationships where I've been able to say yes, I have been heartbroken, my heart has been broken.

I love Ableton's vocoder and Operator for basic side subs and general low-end.

I really don't care if anyone thinks I'm special or not, I just want to be able to live my life without thinking about money all the time, or where I'm going to get it.

All of those 10cc 'Not in Love'-type synthetic choir sounds on 'Replica' are all from the Omnisphere. We used a lot of that.

Eccojams are a very simple exercise where I just take music I like, and I loop up a segment, slow it down, and put a bunch of echo on it - just to placate my desire to hear things I like without things I don't.

When I make music I try to be as honest as I can to how I experience the world. Like how you arrange a piece of music formally. I tend to observe a lot of chaos or whatever, the fragmentation and melancholy. That's the filter I synthesize my world view with. If I didn't formally have that chaos and it was really linear, it would make my skin crawl.

I've always been obsessed with the grain of the human voice. It's the ultimate instrument, there's this whole level of virtuosity and poetry, a sort of athleticism, of controlling your voice.

No one is mediating aesthetic choices on an OPN album other than myself.

I like explication of ideas, even if I'm wrong or even if it's a struggle or if it's a work in progress.

The easiest way for me to tell someone what I do is to say that I'm a non-musician who practises and produces music. I don't have a theoretical language for music. I have this abstract dream language.

The problem with depicting what's weird and what isn't is that it's got to this point of near total oversaturation. There's definitely a threshold at which that language and experience becomes tedious. How can something be weird if everything is apparently weird?

My friends and I have often discussed the plausibility of a connection between qualitatively bad music and quantifiably successful music, often citing the example of Candlebox and their paradoxical influence on culture.

The films of Gregg Araki may not be classified as horror, but they have been known to horrify viewers.

Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.

I think nostalgia used purely for the sake of emotional reminiscing is extremely boring.

Yeah, I tend to tinker with things that I love. It's habitual.

While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.

There are so many things that interest me more than standing on the stage of my own obsessions.

O.P.N. has always been about reaching for some kind of liminal state in which opposing aesthetic forces become entangled and confused and equal.

The dumber the thing is, the more excitement I get from imagining a very complex world of truth around it.

I'm not a scientist.

There's an arrogance of assuming that we can interpret the past - that we've left the right footnotes, that we're doing the right reclamation projects, that we're not overcorrecting. Actually, we have no idea where we're going. It's this Tower of Babel type scenario.

I saw Double Leopards play at my school and realized there were other ways to approach noisy music that weren't necessarily aggressive. That became a very important concept for me as a musician. I don't think I would have been that interested in creating and performing my own music if it wasn't for this group.

The subject is missing from 'Replica' - it's about malleability of materials, and working with metaphor, and sculpting in time. So that makes a collaboration with another person who pushes sound in a sculptural way appealing, because you're like, 'Let's see what dimensionality is introduced from this other perspective that I might not have.'

I'm super into dudes like Megazord, Jon Rafman, Rasmus Emanuel Svensson, Tabor Robak, and Michael Willis to name a few.

Kitsch is very important to me.

OPN is completely off the grid. Its like the slime underneath techno and other synth-oriented music.

I'm so into this idea that the Internet was this reservoir of mythologies and histories, and the architecture of it being linked pages that create hard connections and bridges between ideas that shouldn't be linked.

It's sad to me that the main stage of history is a story of how we became this visually obsessed, extremely narcissistic, extremely concerned about image, culture. At least in the West.

I wasn't always totally interested solely in music as a sort of visceral expression of people in unison and synchronized, a federated expression of a group of people. I loved it as a wallflower, as a fan, but when I was in it, I always felt like I wasn't built for it.

That idea of being so sure of what has happened, and what will happen, is the most idiotic human thing that anyone can do.

I was born in '82 and there were these bizarre wars, explained through mass media in ways that made no sense. I remember watching the Gulf War through night vision. That was sold and propagated as a showbusiness moment for the news.

For so many people, it's very hard to feel okay with success, because success is not cool. It supposedly tarnishes your thing; it ruins little pockets of scenes and the self-importance that comes from thinking you're the only people in your town that are doing something.