A Quote by Aesop Rock
Doing something like 'Bushwick,' a lot of people need to agree that the piece is working with what's going on on the screen. So it's a lot of tweaks and re-works, just kinda moving pieces around and getting things to hit right.
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I think, a lot of times, network shows are under a lot of mandates. There's a lot of moving pieces. There's a lot of money. There's a lot of people who are going to be disappointed if anything goes wrong.
People are building the software and so having the pieces be such that a single person understands all the tradeoffs and everything that's going on in a piece is extremely valuable. It avoids getting into an experimental mode where you're just trying things out. That never works.
Denial of numerous problems can happen in any organization, and I don't mean this as flip or negative as it's going to sound, but you see it a lot in corporate cultures right before they hit a wall. People tell themselves a story that it can turn around, it's going to turn around, we're doing all the right things, and then that story lasts until it's literally no longer sustainable or believable.
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
I set up a system for myself where I work on a lot of pieces at once. I'll switch between them and keep working on a piece until it comes together, and then I'll publish it. This way some pieces can take a year if they need to. The trick is to just make sure one is ready every week.
I build duets into bigger works. I like to see people working together. What we call a giant solo in my company is about four bars long while twenty other people are doing something dynamically. I like the charge that is set up by a lot of people doing something.
I really love doing nothing. I really love just being at home and taking a couple of days, you know, doing nothing. You know what I mean? Just getting up, being around the house, going outside the back yard, coming back in; I really like to do nothing because I travel a lot. There's a lot of travelling. There's a lot of on the phone all the time. There's a lot of looking at papers and reading things and so you don't want to read magazines and you don't want to do anything; you don't want to read books, you just want to just kind of shut down a little bit.
I just like doing a lot of different things. People need a reason to get their butts out of bed and do something.
I think a lot of people - to be candid about it - are like, if Donald Trump can be president, so can I. And I think there's a whole crop, a new generation of people who aren't on the tip of anyone's tongue, just like Bill Clinton wasn't on anyone's tongue; just like a lot of people didn't expect Barack Obama to take off like he did. I think we will have a lot of new people running, and there are obviously a lot of fantastic people who have run before, or standard-bearers, right. All right. So, I think there's just going to be a ton of those people.
I tell people a lot of times, if you want to be a part of something, you never know, you kind of just have to be around. A lot of people don't really have the patience for it, and they don't stick around. Dre and I are still working together, and we have plenty of music for the future.
Before moving to L.A., I was working with a lot of people who were manipulating me, where they either wanted to put things out immediately or didn't - I was on everybody else's time frame. But once I was on my own, I was like, 'You know what? I'm going to do this right and take my time, and I'll put things out only when I'm ready.'
There are a lot of people who are moving from unemployment to disability rolls, and there are a lot of people who have been out of work for a long time who are unable to get jobs. And I think that from a long-term perspective, this is not just a human tragedy, but it's going to be a potentially big hit on the economy in the future.
There's so much control of the audience's experience when you're on stage doing a play, whereas when working on camera, there's a lot of people that have to do a lot of things exactly right for anything that I do to matter at all.
I see that things are getting made a lot faster for less money and there are a lot less opportunity, I think, for actors. There's not a lot of work in the U.K. I mean, that's why everyone's moving to America because that's where the work seems to be. But it definitely feels like a lot more of a slog to get a gig these days. I suppose that's a lot to do with our current climate and financial messes. I certainly see that people seem to have to work harder with a lot less time.
I'm a warrior if you try to hurt my family. And anybody I see getting it in the neck out there, I'm right there to protect them. I'm a big, strong guy who knows what he's doing. I've stopped a lot of things in the street, stopped a lot of people from getting hurt.
I think I've started to have a lot more fun around snowboarding, even going out of the halfpipe and going to hit some jumps or getting some 'pow.' That definitely made it a lot more fun to me, just adding that much positivity into snowboarding.
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