A Quote by Bonobo
Most of the time I approach a track as series of experiments: seeing what fits, and trying to manipulate sounds into each other so they have some kind of dialogue, and then start building a structure around it.
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I turn on the machines and start to think about ideas and take it from there, it usually begins if it's a beat, a track creating a beat/beats and then the bass-line/lines, then comes the sounds--drones, atmospherics etc, then the edits of various sounds I created and keep going till I feel I have enough sounds ideas to start working and building a track. I have many banks of sounds that we hear that can be manipulated in the machines.
If you have guys where they don't know what their job is every night, then you start seeing guys, they don't give each other high-fives. They don't communicate when there are miscues. They just kind of look at each other and try to blame each other.
What makes architecture extraordinary is that you're looking at the building, but your peripheral vision is also seeing how it fits within a space. And it's seeing more than one part of the building at one time.
People don't live their lives in a series of scenes that form a dramatic narrative, they don't speak in dialogue, they're not lit by a cinematographer or scored by a composer. The properties of real life and the properties of drama have almost nothing to do with each other. The difference between writing about reporters and being a reporter is the same as the difference between drawing a building and building a building.
I might spend 100 pages trying to get to know the world I'm writing about: its contours, who are my main characters, what are their relationships to each other, and just trying to get a sense of what and who this book is about. Usually around that point of 100 pages, I start to feel like I'm lost, I have too much material, it's time to start making some choices. It's typically at that point that I sit down and try to make a formal outline and winnow out what's not working and what I'm most interested in, where the story seems to be going.
Our approach is more the jazz approach, where you learn to play your instrument as well as you can, develop your craft, and then communicate with each other. That's the focus, not trying to give some message or entertain or have a good light show or whatever.
I'm not building each one character around one metaphor, so much as trying to build a heroic archetype that can be used to express the kind of metaphors that I find in each story.
I enjoy construction and the process of building things, so maybe I'd be a developer of some kind - residential and commercial. Because I produce a lot of television now, I enjoy building things from the ground up, whether it's a physical structure or a show, and seeing them and realizing them.
There's no other place I'd rather have it than here in Mexico. It's a race track that I was looking forward to going to from the time we were here last year. This track just fits my driving style perfectly.
BoJack especially is a very dialogue based show. A lot of the comedy comes from conversations, and a lot of story comes from misunderstandings and people trying to connect with each other, and there was a really interesting challenge trying to write a script with no dialogue.
I'll be in a series for three or four episodes, but then I'll be off the series, and downtime, as an actor, is a little more than most people understand. Most of the time you're just sitting around taking coffee with friends.
We were never a band that did 96 takes of the same thing. I had heard of groups that were into that kind of excess around that time. They'd work on the same track for three or four days and then work on it some more, but that's clearly not the way to record an album. If the track isn't happening and it creates some sort of psychological barrier, even after an hour or two, then you should stop and do something else. Go out: go to the pub, or a restaurant or something. Or play another song.
The black arrowed swoop of the moment swung high into the unceilinged future, ten, fifty, sixty years, may be: then, past seeing, up to that warmthless unconsidered mock-time, when nothing shall be left but the memorial that fits all (except, if there be, the most unhappiest) of human kind: I was not, I lived and loved, I am not.
You realize how much the relationship when kids are young can suffer. And it's important to make sure that you are able to spend some time with each other. As a father, the best thing you can do for the kid is to love the mom. Even as a parent, I believe that loving the mother is the most important thing. And even parents who maybe aren't together I think that's important for them as well to respect each other and to be kind to each other, because I think it does so much in who they would pick to be around, or how they feel about themselves.
My dad has pretty much taught me, he's built this thing with me, he trains with me, practices with me, goes to the gym with me, we battle each other at the go-kart track. We're so competitive with each other, and I feel like we both make each other better because we're so hard on each other, just trying to be the best we can.
When you're singing we all phrase each other in the most remarkable ways. I might hit some sort of thing I've never done before - some vocal pattern. Bonzo will pick it up - he'll phrase with me instantly and then Pagey may join in or start some other phrase - it's like a quadrant.
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