That's my dream - to play Coachella... not as a guest but as me!

Falling in front of an audience - that's, like, my biggest fear.

You should do the sound that you want and not what others want.

Pizza makes me throw up!

I didn't get along with people at school.

It's like I've been in music school my whole life.

My dad is my biggest fan, and so is my mom.

Dads are the best.

My sister Miley really inspires me because she's all about being herself.

When I met Justin Bieber, I could barely speak. I was just going crazy inside.

My dad is my biggest musical inspiration.

Lady Gaga is my big fashion inspiration. I look up to her a lot.

Writing is the best way to get your mind clear. It's also a great way to explain your past or what you hope for the future.

I was on my dad's tour bus when I was super little. My dad did a tour of 'Annie Get Your Gun' when I was really little, and I loved going and seeing him do that.

There were so many nerves with putting out new music.

There's one thing my dad taught me: don't talk about politics, because you'll never make anyone happy. Don't even go for it.

Everybody's like, 'Who hurt you? I'm like, 'The Internet.'

I don't know if I would compare my sound to anyone because I like to think that my music is my music.

I think you've got to be as honest as possible in order to influence someone.

My songwriting is personal in the hope that listeners will know that I relate to them.

I've worked with PETA on freeing elephants from the circus.

Do I have a cold heart? Some say.

I was riding every single day. I home-schooled because of horses.

My music has given me a confidence I wouldn't have had if I had gone a different route.

I've had every colour hair you can think of.

'Fargo' becomes a metaphor for a type of true crime case where truth is stranger than fiction. So, there's no reason that there isn't another 10-hour true crime story that could be told in this region.

'Fargo' is a tragedy with a happy ending. So you need to have that tragic underpinning, that all of this could be avoidable, and that's what makes it tragic. It's about the use of violence, and the fact that the tension in anticipation of violence and the tension in anticipation of a laugh are sort of the same.

There have been days where I've had two writers' rooms or three writers' rooms going, and you walk back and forth. And then you sort of throw yourself on the sofa, and you go, 'Just talk at me for, like, 20 minutes,' and my brain will catch up with this particular story. But I find that exciting.

The most dangerous thing, when you have a serious mental illness, is convincing yourself that you don't have it. And you see it all the time. People get on medication, and they feel better, and they stop taking it. And some flirt with unreality on some levels. But it feels so convincing to them that it feels real.

The thing that scares us the most is when familiar things operate in unfamiliar ways.

Half of a broadcast show, in my experience, is things happening, and the other half is people talking about how they feel about the things that happened. And so there's this sense of everyone saying their subtext out loud.

I think that we're pattern-seeking animals, and what we like best is a story where everything fits together, where there's no puzzle pieces left over.

One of the things that I've always appreciated about the 'X-Men' style of storytelling versus other Marvel stories is how fluid the line between good and bad and right and wrong is.

The idea was always going to be that each year is a stand-alone story, which did make it easier on some level. It also requires the network to have the creative imagination to say, 'This is also 'Fargo,' you know what I mean?

I would have loved to have been in the room with the ABC executives when they watched David Lynch's 'Mulholland Drive' TV pilot. You know that had to be a long silence after that thing stopped.

For some reason, I tend to take on the stuff that people are really passionate about. If you make a list of people you don't want to offend, it's Vonnegut readers, comic book fans, and Coen brothers enthusiasts.

It's a human desire to be scared. On some level, that's how we survived - that sense of fear and danger. Our lives are much safer, so we gravitate to those stories that makes us feel those things and learn lessons, even if it's just, 'What are you doing? Don't go in the basement!'

The thing with making your art your business is: It's a business. You can't sit around waiting for the muse, especially when you run a show, and you're in production, and an outline is due, a script is due, and a reshoot is due. No. You look at the calendar, and you go, 'OK. I can write from 4 to 6.' So you write.

Anytime you want to create something different, you have to convince people that it's O.K. 'We'll be O.K. It's going to work out. It's going to be great.'

The danger of writing a so-called thriller is that in your last 100 pages, all of these really interesting characters you've created are just running away from something or toward something, but they're no longer capable of innovation or discovery.

There's a degree to which music bypasses our rational brain and accesses our emotional core in a way that's really visceral and allows you to make a strong impression on people without necessary delivering information.

The 'X-Men' stories are the stories of outsiders: people who don't fit into normal society and are ostracised; it's a metaphor for gender, race, or sexual orientation.

It used to be for writers that that six seasons and a movie thing, that's the holy grail as writers - your series goes eight, 10 seasons, you're set for life.

Greatness and fiasco is the same. You're reaching for something just out of your grasp, and if you get it, it's great, and if you don't, it's a disaster.

There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.

The prospect of being a father made me ask myself a question. How do you know what kind of adult your child will turn out to be? And how much can you control that?

You need a good James Clavell novel, I think, to make a good miniseries.

Experimental film by the '70s had become much more mainstream after 'Bonnie and Clyde' and stuff in the late '60s, when you were seeing bigger movies where people were exploring the medium a lot more.

One of the things I've always loved about genre, comic books, science fiction and fantasy is that there's a certain level of playfulness to them, and pure imagination and creativity.

There's a sense you get from the Coens' work, like 'No Country for Old Men,' where you put these characters in situations, and you just let this painful amount of time take place. Part of the tension is just how long it takes to get out of that scene.