Top 98 Quotes & Sayings by Oneohtrix Point Never - Page 2

Yeah, I guess generally I don't want things ever to be easy. While there's some danger of doing something that loses your personal stamp on things, I'd rather take the chance of doing that and do something slightly uncomfortable or hard for myself.

I love the idea that you develop a relationship over time that yields new projects and more creative freedom and trust.

I love seeing Tim Hecker perform because the experience truly shakes me.

Oneohtrix Point Never is total freedom to do what I think is right.

While I absolutely love a great drummer and get tunnel vision listening to drums at a show, a lot of the time I feel like drum machine-driven music tethers you to a genre.

I would love to perform in an Amangiri hotel somewhere. Just off to the side like a piano man, while people drink and eat.

There are so many things that interest me more than standing on the stage of my own obsessions.

I don't like straightforward drum sounds and hate snares; can't stand them.

I loved Alva Noto's 'Xerrox, Vol. 3' a lot. It might be my favorite of his records. I must admit, I was bummed to see him say he was surprised by how emotional the record came out, as if he was ashamed. But there's something perfect about that.

If I'm not using something, I tend to sell it and move on, so I'm not too sentimental about hardware synths.

As a movie fan, I remember Quentin Tarantino and Lawrence Bender and the sort of energy around 'Reservoir Dogs,' and the jump from 'Reservoir Dogs' to 'Pulp Fiction,' and how everybody was stoked on Quentin's career.

I'm so into this idea that the Internet was this reservoir of mythologies and histories, and the architecture of it being linked pages that create hard connections and bridges between ideas that shouldn't be linked.

I think nostalgia used purely for the sake of emotional reminiscing is extremely boring.

My friends and I have often discussed the plausibility of a connection between qualitatively bad music and quantifiably successful music, often citing the example of Candlebox and their paradoxical influence on culture.

Yeah, I tend to tinker with things that I love. It's habitual.

O.P.N. has always been about reaching for some kind of liminal state in which opposing aesthetic forces become entangled and confused and equal.

I've lost so many gigs composing commercial or television music because I can't repress my inclination to work against conventions.

Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.

Anything that's too self-assured just makes me nervous.

That idea of being so sure of what has happened, and what will happen, is the most idiotic human thing that anyone can do.

When people talk about how parameters can generate really good work, there's no better example than working within a genre in film. That's like the ultimate parameter.

Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.

Thrillers rely on certain archetypes and our familiarity with them is quietly driving all of the tension. So it becomes an interesting challenge from the score perspective, to enhance that tension without being noticed, just like those archetypes.

The films of Gregg Araki may not be classified as horror, but they have been known to horrify viewers.

The easiest way for me to tell someone what I do is to say that I'm a non-musician who practises and produces music. I don't have a theoretical language for music. I have this abstract dream language.

The way I think about things or hear things in my head is actually much closer to acoustic instruments. I don't have weird synthesized fantasy of music in my head.

To me everything is a material, and everything is subject to change. When I work with found sounds, I'm trying to figure out how do I make this come from me?

I can't tell you how much more important watching 'Hellraiser' is to my music than listening to a Milton Babbitt piece or something.

The problem with depicting what's weird and what isn't is that it's got to this point of near total oversaturation. There's definitely a threshold at which that language and experience becomes tedious. How can something be weird if everything is apparently weird?

Far Behind' is a single from Candlebox's self-titled record from 1993. The record came out on Madonna's Maverick imprint and went quadruple platinum, regardless of how much it sucked.

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

You look at somebody like Thurston Moore. Is he a noise dude? A punky dude? Is he a free jazz dude? He's a stimulation chaser, and I relate to that.

Especially in repetitive music, to make a long piece of music you have to be extremely skilled in your sleight of hand. Just to make long form music it's very difficult and you really have to consider what you're putting someone through.

Music that is considered minimalism - or post-minimalism music in general - things of that nature or that come from that tradition, or even drone, or non-western music, have a more subtle and more open-ended verticality to them that allows for your own mind and body to be involved.

I really love Glasgow. It reminds me of Boston in parts.

I was a failed grunge kid who was too nerdy to totally get down with rock.

I knew my whole life that I had to make ends meet or I would be ashamed of myself. I had a lot of pressure from my parents. So that's where my vision comes from. It's not to be a great artist, it's always to be like, 'Dad, look, I didn't let you down.'

There's an arrogance of assuming that we can interpret the past - that we've left the right footnotes, that we're doing the right reclamation projects, that we're not overcorrecting. Actually, we have no idea where we're going. It's this Tower of Babel type scenario.