A Quote by Bonobo
It's one of those things that always astounds me, when I make a record and it connects with people.
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I bring a record home, and it connects with me like nothing else. In my ideal situation, somebody will do that with my record.
As long as I can have enough to make the record and pay the mortgage, those were always the two things that were most important to me.
The live thing is separate from the record for me. I have to figure out a way to make the songs work live. It's always going to be different than it is on a record, because every record I've made, there are people playing parts on there that are not going to be coming on tour with me. As much as still feeling connected to it, it's more like rediscovering.
It's always interesting to me to see people projecting things, like people would say, "This record is much more mature than your other record" and I would think, "Well, this record has more songs from when I was 18 on it than the other one."
Loving photography and wanting to be a painter, it all ended up in the process of filmmaking. It's strange professionally be to connected because it connects you to architecture, it connects you to painting, it connects you to writers, to actors. It connects you to really all of the arts.
You have to keep the recording process open. If you make too many decisions before you go in, you can lose out on those serendipitous moments that can really make a record, that I think are always required in the making of a really good record.
I did my gospel record, but there was nothing really of it. Maybe a hundred people bought it. But it's one of those things on the internet that people find and they make into a big deal.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
It always astounds me that over the course of my career, and having lived in four comedy cities - New York, Boston, San Francisco, and Los Angeles - there's very few people I haven't run into.
To those people (who criticize me), get off your a** and make a record.
There are three types of people in this world: those who make things happen, those who watch things happen and those who wonder what happened. We all have a choice. You can decide which type of person you want to be. I have always chosen to be in the first group.
Make a record in your bedroom on a cheap computer, play it on pirate radio, and that's what's it's all about. You can do something really exciting and you don't need any record companies. The way I do everything comes from that, the impact of those two things.
You learn new song until you're comfortable with it to where you can record it blindfolded, but then when it comes out on the record, you forget about those little nuances and those little things that you changed during the recording process. It's those spur-of-the-moment things you do that makes it an entirely new beast that you then again have to relearn.
When I produce someone's record I have to remember it's their record..no matter what I bring to it..er, sometimes that's not too easy:) It is a responsibility made less easy by people I work with encouraging me to play guitar on their record...A soon as I start playing guitar on someone's record it inevitably starts to sound like me...not always a good thing.
One last thing on objectives - I like to make things, create things, so that's probably been the primary objective all along, even before the ego objective - to make. To record. But why record... that gets back to the ego, a little. Oh, well. Making is good. I like to make things.
I've always liked people who know me to like me, because I think I'm quite likeable. But people who make up their minds based on the image in the papers or a voice on a pop record? They're idiots.
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