"The idea of movements in classical music did come into my brain [laughs]. It is very much like movement or acts, and that's how I decided the sequence of the parts. I started with a lighter and soft, but still sad, movement. Then the second one is a higher tension, faster, kind of anxious section. Then I end up in a section that brings it back. There's a wave of rising action, a climax, and falling action into the end. I can't say exactly what made this all come to my brain. I was just writing and I started to see these three main themes and ideas that I was centering around. For me, that's how I realize what is on my mind. So I kept writing and let it separate into three groups. I saw the yellow one first — an aged yellow is a color I've always associated with sickness, anxiety, paranoia, and high tension. Once I saw that connection to the color, I saw there are colors going through the other songs, too. The ones talking about sadness or depression have this imagery of water running through them, which is obviously blue. The last one was emptiness — grey, a lack of color. That's how I decided to set it up with colors in mind...It's a metaphorical attaching of color to imagery.