“Hey.”

“Hello.”

“What’s up?”

“What’s up?”

“Wait, I lost you for a second.

You froze.”

“[Singing] What do you want from me?

Why don’t you run from me?

What are you wondering?

What do you know?”

“When did you first start making music?”

“Like, when I was like 11.”

“How old are you?”

“I’m 17 now.

I feel like I’ve been 16 for, like, my whole life.

So I’m 17 now.

And then my brother, he started around 12.

Me and him were both doing the same thing in the same house.

And we just were like, we live three feet away

from each other,

why don’t we do this together?

[Singing]

“The creative production writing

crew of Billie’s debut album’s two people.

It’s just her and me.

We wrote “Bury a Friend” on my 21st birthday.

And we were playing Lollapalooza.”

Singing: “I’ve never fallen from quite this high.

Falling into your ocean eyes.”

“I was, like, away from all my friends.

I couldn’t have a birthday party or anything.

And so I was like, well, I love making music,

so let’s rent a studio.”

“And I do remember having a feeling of,

like, if we spend all day of my birthday,

we better make something that, like, comes out.”

“Finneas just started making this shuffle beat.”

“So it’s [beat boxing]”

[beat playing]

“And I thought it was sick.”

“It feels kind of like a football chant.

It’s a really body- friendly rhythm,

if you play it at the right tempo.”

“Lyrically, where did you start?”

“I really wanted to kind of do, like,

a bunch of Ws in a row, like a bunch of questions.

[Singing] What do you want from me?

Why don’t you run from me?

What are you wondering?

What do you know?

“And it was like, who is this character?

And what the hell are they?

And I think just, automatically, it

was so clear that it was like the monster under your bed.”

“And then I was like, that’d be

great to write a song from that perspective.”

“Why aren’t you scared of me?

Why do you care for me?

When we all fall asleep, where do we go?”

“What was it about Billie’s voice

that, even from an early age, you knew

you wanted to work with her.”

“Her emotionality.

Every time she sang a lyric, I believed it.

Billie would, like, sing a ‘Hotline Bling’ cover

by Drake.”

Singing: “You used to call me on my cellphone late night

when you need my love.”

“And I was just like, did you write this?

And she was like, no, it’s ‘Hotline Bling.’

I was like, oh, wow.

When you sing it, it feels like you wrote it, to me.”

“Where do you normally write and record?”

“We’ve written and recorded, like, 90 percent of everything

we’ve ever made in my bedroom in my parents’ house.

It’s really small, but it’s really cozy.

Billie will sit on my bed.

And I have, like, a lot of big Murakami pillows on my bed.

She gets inspired.

Like, we’ll track something.

And I’ll sit, and I’ll work on production.

Then we’ll work on lyrics together.

I have a piano in there.

We tend to work pretty long days.

Mom will just, like, bring in food,

because we’ll just keep going.”

“Since he moved out, he’s lost, like, 15 pounds.”

“Because you don’t bring snacks?”

“He doesn’t eat enough.”

“He doesn’t know how to cook.”

“What was it like for you and your husband

when your kids first started making music together?”

“I mean, Billie was already singing all the time.

And she had this beautiful voice.”

Singing: “I don’t want to live in a world without you.”

“And, like, every year she’d sing in the home school

talent show.”

Singing: “And I should know.”

“Finneas had a band.

And it was very all-consuming.”

[Singing]

And so, you know,

it just was kind of this perfectly natural thing

when Finneas suddenly was, like,

hey, let me record you doing this song.”

“Ready?”

“Yeah.

Are you?”

“Maybe.”

“We knew they were amazing.

But nobody in their wildest dreams

thought anyone would hear it except, you know,

20 friends.”

[Cheering]

[All singing]

[Cheering]

“All right, so you have the, like, sort

of nursery rhyme hook melody.

And you had some verses.

When did you first start incorporating

the spooky noises?”

“I was in the dentist’s chair.

And they were shaving off my Invisalign attachments.

And it was this loud, like, [drill sound] [bleep]. And I

thought it was so dope.

And I pull out my phone immediately

and pressed record.”

[Drilling]

“O.K. Rinse out and let’s take a peek.”

“I found it very horrible to listen to.

But it worked great in the song.”

Singing: “Calling security.

Keeping my head held down.”

“As soon as there was a line about stepping on glass,

I wanted to hear someone stepping on glass.

And as soon as there was a line about a staple,

I was, like, smacking a staple gun.”

Singing: “Step on the glass.

Staple your tongue.”

“There is also one called nightmare horse.”

[Sound effect playing]

“Another one I like is Easy Bake Oven.”

“Yeah.

Singing: “Bury a friend.”

That [bleep] yeah, it’s

literally an Easy Bake Oven.”

“And then I processed a ton of her going, like, ah!

And then it ends up sounding like —

[Sound effect] —

I put that all over the song.”

Singing: “Cleaning you out.

Am I satisfactory?”

“The song is so weird.

It’s so weird.

And we were, like, can you understand it

and actually sing along?

And so I remember, like, we tried

a billion different things.

And then we were, like, you know

what, this needs a bridge.”

“So how did it end up sounding?

Can you do a little bit of it?”

“Like — The debt I owe.

Got to sell my soul.

I can’t say no.

No, I can’t say no.”

Singing: “Then my limbs all froze.

And my eyes won’t close.

And I can’t say no.

I can’t say no.”

“I like it because it sounds like a Kurt Weill song

almost, to me.

Do you know what I mean?”

“The structure is super weird.

It’s like, hook —”

“A verse.

A pre-chorus.”

“Drop.”

“A hook.”

“Verse two.

Alternate verse two.”

“Bridge.”

“Pre-chorus.

Drop.”

“And then the hook.”

“Normally songs are like, verse, chorus, verse, chorus,

bridge, chorus.

Like, that’s pretty much the way that they are.

There was, like, a point right at the end

of working on the song where it was suddenly,

like, much more traditional song structure.

We were like, all right, well, now,

we’re making, like, a pop record here.

So I’m really glad it ended up being the weirder

version of the song.”

Singing: “Honestly, I thought that I would be dead by now.

Calling security, keeping my head held down.”

“I don’t want to be in the pop world.

I don’t want to be in the alternative world, or the

hip-hop world, or the R&B world,

or whatever [expletive], you know?

I want it to be, like, what kind of music you listen to?

Billie Eilish kind of music, you know?

Like —”

“Yeah.”

“The other kind.”

“I’m telling you all now.

This is going to be the biggest artist, 2019.”

“When the song came out, I said to Billie,

I was, like, ‘I think we just get to do

whatever we want, now.’ ”

Singing: “I want to end me.”

“They don’t remember this.

But this is what happened.

One of the other things I do in life

is a lot of aerial, like, circus trapeze.

So I was, like, can you guys write

a song that has the perfect beat for my warm-up?

And Finneas goes, oh, shuffle beat.

Yeah, I’ve always wanted to make something

with a shuffle beat.

They don’t remember this story.”

“That’s not how it happened.”

“If she feels like she was part of the impetus

for ‘Bury a Friend,’ like, more power to her.

I don’t personally remember that being a part

of the genesis of the song.”

“But it happened.”