It's all right to fail. You just have to get up again and try. That's the bottom line.

Music can connect people on an intimate level. What Josh and I are trying to do is represent anyone who has some of the questions that we have.

Our moms accuse us of selling out all the time, so we're still trying to cope with that. They claim to be true fans, like they've been there from the beginning, and they think that we've kind of, like, changed as humans.

I remember the first time I ever showed my parents a song that I had written. The content may have been a little darker than they were used to, or really introspective in a way that may have been uncomfortable. I thought they'd retaliate with some kind of judgment or concern about whether I was feeling all right, but they were proud of it.

For us, we make a song, and if we like it, it goes on a record.

A lot of bands have an unfortunate past; we've dodged a lot of bullets when it comes to that.

We've done that whole spectrum of different varieties of shows, and we've figured out the best way of capturing the audience and taking them to a place where they will have an experience that they will never forget, whether they don't like it, or they actually resonate with what we're trying to do.

It's a funny thing. I'll be in my home town of Columbus at a restaurant or something, and the waiter maybe asks, 'What do you do?' and I say, 'Oh, I'm in a band... Twenty One Pilots,' and he'll say, 'Cool, I'll check it out. I never heard of them.' And then I say, 'In September we're playing the Schottenstein Center,' and it's like, 'What?!'

You have to give them something where they walk away and say, 'I want more of that.' To create something like that, you have to take them on a journey. So the live show is very important to us; we've been working on that a lot.

When Josh and I are recording a record, we're very mindful of how the music will manifest itself live. That's where we have to live every day. When we tour for the next record, I imagine there will be a new story to tell, and we'll introduce new characters.

When you play a show or festival, people know what they're getting; they want it. Then you're thrown onto a show where people are watching TV in their houses, and whether they ask for it or not, we're being played in front of them. There's a lot of negative feedback.

When you write music that expresses doubt or concern, or talks about some of the darker things that a developing human goes through, people will come out of the woodwork to listen to someone else say it out loud.

Our palette is wide and eclectic. That's why we crank out a lot of different styles. To some people, it makes us seem disjointed or scattered. But when we play live, it makes sense to us.

We know in order to get where we want to be and do what we want to be doing, sometimes we have to do what we don't feel like doing. It takes hard work, and the band name is a constant reminder of that.

Josh is the guy in the band who's just so friendly and super, wanting to walk up to you and say, 'Hey, I'm Josh. I drum in this band, and I'm a big fan of you, and I really appreciate what you do.' Josh has all these great friends in the industry now.

You kind of have to celebrate the moment that you get to create something that you love that falls into the parameters of a 3-minute-and-20-second song, to try to be creative inside of those parameters.

We do things differently. You don't have to worry about being part of a particular genre. You just go for it.

I think throughout the day; there are always lines or certain words, and I'll just keep notes in my phone. It might just be one or two words, and then that could inspire a whole song, lyrically.

We just want to outdo ourselves every time we come back somewhere.

We come from a sensory-overload culture, and so we wonder if one guy on drums and one guy dancing around is enough. Adding guys was something we always were curious about. We decided for this run specifically to stay a two-piece. In the future, we definitely could add members.

I had to make 500 shots every day, and when my mom wasn't looking, I'd get up closer to the basket and do lay-ups and count them, and she'd be at the back window at the kitchen and knock. Then I'd have to go back and shoot from longer.

There's so many people who have never heard of us, but I think what we've learned is you can't underestimate the power of a core fan base and people who believe what you're doing. I think they're the ultimate marketers. They're the ones promoting us.

Here in Ohio, the hardcore scene is a big thing, so some of our good friends are in hardcore bands. So we've had to figure out how the heck we get these people to respect us.

For a long time, we just played here - Columbus is a perfect place to work your way up and maybe build a fan base.

It is true that if you hear our music described, it sounds unappealing. I used to laugh and agree with people when they said it didn't make any sense.

Growing up, money is important. And now I have a career where I'm making enough money to live. But I really want to give it to my parents, my family, charities, and people around me.

If I were to give advice to someone that just started a band and how to get someone's attention, you've gotta have a central hub. For us, it was Columbus, Ohio.

There are times when we look back and think, 'Do you remember when we had to lug a piano downstairs to a basement of some venue to play for five people?' We do a lot of reminiscing. It helps us keep our heads on straight.

Pretty much all the programming on our CDs is done by me personally, so I've kind of been able to have complete control of what sounds I'm looking for to complete a song.

I didn't know that there were many rules in music when I first started writing.

Some people would look at a backing track as something that would confine you, but it really frees us up. It's nice not to be strapped down to a certain spot when you're trying to put on a show.