Billie Eilish

You want recognition. I feel very seen. I feel very lucky about how much recognition I already have. Most producers and songwriters have less than I do. I'm aware of that and I don't take that for granted. And being as famous as Billy is a nightmare. I would never want that. She wears it really well. And she is actually a rock star. I say that like as a person, like she is a charismatic enigma.

The air gets crackly in the room when she walks in. And it's cool to see that. I don't feel that way when we're in my basement making a song, but like I see it at a function. And I don't want to have that. And I don't pretend to have it. And the consequence of that is she can't do anything. It's a heavy price to pay. But I guess back to the thing about...

The air gets crackly in the room when she walks in. And it's cool to see that. I don't feel that way when we're in my basement making a song, but like I see it at a function. And I don't want to have that. And I don't pretend to have it. And the consequence of that is she can't do anything. It's a heavy price to pay. But I guess back to the thing about...

The air gets crackly in the room when she walks in. And it's cool to see that. I don't feel that way when we're in my basement making a song, but like I see it at a function. And I don't want to have that. And I don't pretend to have it. And the consequence of that is she can't do anything. It's a heavy price to pay. But I guess back to the thing about...

Well, I think that both of you are basically practicing empathy and you're both talking about the same thing, which is you're recognizing the Robin Andy Richter of the armchair expert with Dax Shepard. When we got to that. Yeah. You probably know implicitly how it feels to be the person always there, always participating in the thing who's not the masthead.

Well, I think that both of you are basically practicing empathy and you're both talking about the same thing, which is you're recognizing the Robin Andy Richter of the armchair expert with Dax Shepard. When we got to that. Yeah. You probably know implicitly how it feels to be the person always there, always participating in the thing who's not the masthead.

Well, I think that both of you are basically practicing empathy and you're both talking about the same thing, which is you're recognizing the Robin Andy Richter of the armchair expert with Dax Shepard. When we got to that. Yeah. You probably know implicitly how it feels to be the person always there, always participating in the thing who's not the masthead.

I put out some music under my own name and I don't feel any better or worse about that in terms of like, if somebody goes, I love your thing. I go, thanks. I don't have, oh, that means so much more to me than saying you like Billy's thing.

I put out some music under my own name and I don't feel any better or worse about that in terms of like, if somebody goes, I love your thing. I go, thanks. I don't have, oh, that means so much more to me than saying you like Billy's thing.

I put out some music under my own name and I don't feel any better or worse about that in terms of like, if somebody goes, I love your thing. I go, thanks. I don't have, oh, that means so much more to me than saying you like Billy's thing.

You also give it to each other. I mean, like, that's the other thing. Billy is so generous and effusive about me to me privately or publicly to me. And I for sure feel the same way.

You also give it to each other. I mean, like, that's the other thing. Billy is so generous and effusive about me to me privately or publicly to me. And I for sure feel the same way.

You also give it to each other. I mean, like, that's the other thing. Billy is so generous and effusive about me to me privately or publicly to me. And I for sure feel the same way.

I would watch those videos, and instead of being jealous of the women who get to be around the hot men, I would be jealous of the hot men, and I wanted to be them. I wanted to dress like them, and I wanted to be able to act like them.

Well, you know, we started making music when I was about 13. And as most 13-year-olds, I had not, you know, grown into my body and my voice and all the things that you age into as a human. And I always, you know, it's funny, like when things like that happen at a young age, you kind of have this idea that that's how things are going to be forever.

And so in my mind at the time, my voice was going to sound like it did then forever I thought it was going to be soft and my range wasn't going to be very big and I wasn't ever going to be able to belt and I wasn't ever going to be able to you know have much of a chest mix in my voice and you know I spent many years touring and singing and doing shows, and my voice matured and started to change.

And in the making of Hit Me Hard and Soft, I started working with a singing teacher, which I hadn't done since I was a kid in my choir, and I kind of always felt hesitant to and kind of...

embarrassed to somehow and it completely has just honestly changed my life and I mean I've just my voice has just gotten you know 10 times better in the last two years and what's amazing is it's just gonna keep getting better

No, that's just how I sang. That's what's funny about it. I just, you know, I was like, I couldn't really do much else. Like I didn't have the range. I didn't have the strength in my vocal cords and my breathing, you know. And think about, you know, how your voice sounded when you were a kid opposed to now. It's a completely different thing.

I think, though, honestly, even though it was a lot for a young brain and body to deal with, in a way, the fact that I was a teenager and they were also teenagers somehow felt less kind of... I don't know. I felt, I think I just felt so connected to them because we were all the same age.