A Quote by Bonobo

With something like 'Second Sun' it was something I'd never really done before. It has no drums and I think that was the first time I'd done this sort of instrumental, bass-less kind of piece.
I'm always reaching for something we really haven't done, and War of the Worlds has a lot of this sort of documentary look to it and first-person camera view that is a new thing for me. I've done some stuff like that before, but nothing like the extent of this and digitally.
I feel like if you compare yourself to other successful musicians you will never be successful, because there will always be someone above you who has done something more or done something first or done something better.
I think modeling is interesting, it's obviously nice to take on a character and go through the process. I'm very lucky that I've been able to do that but I think the challenges that come with the responsibility of art directing something is something that appeals to me. I've done it before in collaboration with other people but it's the first time someone's literally handed it over and been like, "What do you want?" It was really fun to kind of dream up a concept and then execute it with all my friends.
I guess I have some kind of a visceral connection with drums. I'm looking to create music that people can react to viscerally, and people will respond to viscerally. I think that you can listen to music, to a song you've never heard before and not really like it, but also feel like you're responding to it physically whether you like it or not. I think that's a powerful aspect about music, and I think that's something that draws me to drums.
I do like a variety of things so I'm always interested in finding something that I haven't done before, if possible, to whatever degree that sometimes changes, and how much is something now that I wouldn't have a year ago but sort of based on what I've done recently as well.
I don't do enough movies that I can call it a career. It really is sort of like summer jobs or something like that. It's very much like holiday work as far as, okay, I do it, and I'm there for two weeks and hopefully am working really hard, and then it's done, and I kind of go back to what I was doing before.
I know when something is done and when it isn't. There's been times working on movies when they [moviemakers] lock in a release date and so you're stuck to that schedule. But sometimes you're still editing and you feel like you're not really done, but they're sort of releasing the movie anyway - that's kind of depressing.
One thing you try not to do as a father, as a coach, is pressure your son to do something that you've done. You don't just keep saying, "this is what I've done, this is what I've done." You have to take a little piece at a time.
I think at that time I obviously wasn't aware of what I really needed. But conversely, my wanting to prove something to everyone was beneficial 'cause if I hadn't done it then, maybe I'd never have done it.
I am always searching for something different or something fresh, something hasn't been done. But the truth is, at the end of the day, we're all sort of retelling something. We're doing a version of something that's already been done.
I'm always intrigued by new challenges and things that I've never done before and new experiences. It sounds so simple, but the primary interest is just something that's good and instills within me some kind of gut feeling that feels like something that I'm passionate and excited about, and there can be multiple variables that can instill that. It can be simply a filmmaker, it can just be a character, it can just be the script, or a combination of all those things. But, I'm always just looking to do things that I've never done before, primarily.
I feel connected to every song on this record [ 'Modern Vampires Of The City' ], but yeah I think there's something special about 'Young Lion'. It's pretty different from any song that we've had before because the vocals are kind of between two different very simple instrumental piano melodies and it's almost like something that we call a vignette, it's sort of like a miniature.
Once I've got something that I feel is strong, if I get long enough to think about it, it'll turn into something. I'll start thinking about the drums - what the drums are doing, what the bass is doing. Then, if I can remember it by the time I get to a recording device, it'll turn into a song.
You get this really cool groove when you're playing just piano, bass, and drums where everyone's sort of feeling each other's space, which is the only way to put it, but it really is true, and everyone's sort of sitting in their own pocket. It's kind of jazz-like.
I think the reason why I have so many movies to my credit is that I never say no to any project, I never veto anything. I sort of challenge myself to do stuff, even if it's something that I've never done before.
When The Murderdolls started it was a really cool thing, especially for me because I had never done anything on that scale before. Even for our drummer and bass player it was their first really big band.
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