A Quote by David Byrne
Some things, I feel like no, I never could have the depth of experience of their own music and culture - but sometimes if I'm collaborating with somebody, they're interested in me bringing my own stuff into their thing, and sometimes that works.
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The positive thing about collaborating is that I cannot get distracted by coding work, because I cannot waste the other collaborator's time in the same way as I can my own. And it's always good to learn how the other person works, learn about techniques, learn social things like: how do you communicate with another person? The music I make with other people I'm much more confident about, I'm a little bit less judgemental of the outcome than with my own stuff because I know it's not only me, it's a more outside of me. Sometimes I even like them better than my own tracks.
Loneliness is a hard thing to handle. I feel it, sometimes. When I do, I want it to end. Sometimes, when you're near someone, when you touch them on some level that is deeper than the uselessly structured formality of casual civilized interaction, there's a sense of satisfaction in it. Or at least, there is for me. It doesn't have to be someone particularly nice. You don't have to like them. You don't even have to want to work with them. You might even want to punch them in the nose. Sometimes just making that connection is its own experience, its own reward.
I'm kind of hard to double, but I did have one guy for a while as my double. I kind of like to do my own stunts, though, because it's just the overall experience. Sometimes you have to step aside when the stuff gets really dangerous, but I feel like sometimes you have to do your own stunts to make the role seem real.
For me, changing the sound and listening to new music - that's just so fun. Sometimes it works and sometimes it doesn't. You're never going to please everybody. I feel that at the end of the day, I should make what I want to make since somebody is going to hate it and somebody is going to love it too. I can't control that.
The purpose of music is to elevate the spirit and inspire. Not to help push some product down your throat. It puts you in tune with your own existence. Sometimes you really don't know how you feel, but really good music can define how you feel... someone who's telling me where he's been that I haven't and what it's like there - somebody whose life I can feel.
I write my own lyrics completely on my own. Sometimes I have people helping me with concepts or like choruses and stuff sometimes, but mostly I write all my own songs by myself, especially the verses and a lot of the choruses.
I was young, but to me that was underground music. I had never heard anything like Venom or any of that stuff growing up in Louisville. That was sort of the only weird records I could find. All that stuff would be in the import section. And sometimes there would be some sort of goth type of stuff. But that was the stuff I was attracted to.
I feel like Houston is one of the leading things in music culture. Everyone loves the Houston culture. It needs to have its own monument, its own moment for artists like me, artists like Beyonce who set it off.
When I listen to music, there's usually some aspect of that music that I like, and that's what I take and try to bring into my own music. Bringing in other musicians to collaborate with is a good way for me to test out new ways or make music that I might have not discovered on my own.
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
I like to work with people of different cultures, different points of view. But yeah, I feel much more comfortable. That's the problem I sometimes have with going to Hollywood. I feel like they don't share the same values as I do. They aren't interested in the same things. It's not always true, but sometimes, I feel it deeply, because as an industry, they celebrate things that I'm less interested in, and it's all about the business.
Fame never interested me. I could have exhibited more of my own works in the 1970s, but I didn't want to. It's sort of like being a child. When you're finished with school, you have only one thing on your mind: to get out and experience life. Did I want to spend all my time working on a painting? No, I wanted to have fun, travel, meet women and live life.
I also have just my own limits about stuff. I'm not interested in writing graphically about sexual assault for example. I feel like the stuff that I'm fascinated by is the stuff that's part of the public imagination of what horror is. The bleakness is a different issue. I think that just stems from my personality. I wish that I offered a little more glimmer of hope sometimes.
When I was making the early stuff, I never expected it to be so big. I was in my own kind of bubble. I never wanted to tour; I just wanted to create music and make a diary I could put out into the world. And sometimes, I became the characters.
I'm slightly ambivalent to the whole relationship between the whole advertising world and music. I think sometimes it works and sometimes it's a really bad mismatch. I think on this occasion its fine because the iPod is like your own mini-library and that can't be a bad thing. It promotes eclecticism and that's very much what we are about so it's a good relationship.
I think living in our culture right now, there's a universal experience where we feel like we become what we do. Sometimes that's rewarding and sometimes that creates an existential crisis.
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