Quotes from Finneas

The amount of times I've been told something by artists I'm working with, which I'm sure they haven't told even their significant other or families, is shocking.

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.

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

When I wrote 'When the Party's Over,' it had a universal quality.

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?'

Everything sounds better when Billie sings it, so the only ones I'll keep for myself are ones that really feel just super personal to me in their content, like this is my life story and maybe not anybody else's.

Being able to hear an artist and emulate them has been a huge part of being successful as a producer and co-writer. I think it's a problem when a producer comes in to work with an artist, and you can't hear the artist as well anymore. It's very important to me to be invisible.

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.

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

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.

Working on TV shows was fun, but I felt crazy pressured and stressed.

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 try not to shy away from specificity.

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

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!'

I just have no interest in being at a party.

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 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.

To me, my favorite joke on a stand-up special is when someone says something and you go, 'Oh my God, I've been thinking that my whole life, I've just never said it to anyone else.' Those little kinda quiet, personal observations you make that nobody else has talked about yet.

I think the whole response to our art being so positive is that it rings true and it feels a unique thing and I feel that was the thing that we strive for in the beginning was to not conform to any preconceived notions of what we should be doing.

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 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.

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