A Quote by Devin Townsend

The way that I write is I just write a ton of music in the background of my life, and then I just bring it into rehearsal. It's, like, 'Okay, guys. It goes like this. Let's smooth it out.'
When you're in a room with a guy who has a vision like that, it's just one of those things where you close your eyes and just see that vision - then you just go with it. The guys that I write with are so incredible, just like my producer Trent Willmon, those guys know how to bring things out of me - especially things that I maybe didn't even know that I had.
Things like rhyming - it just wasn't falling out of my head that way. So I started to get quite freaked out that I just couldn't write anymore. And then I just kind of went with it, and thought that, "This is the way that my brain's working," in a more direct way, then I should just try it like that for this album. And follow it. Just went with the writer's block, almost - it's a strange thing.
Take out another notebook, pick up another pen, and just write, just write, just write. In the middle of the world, make one positive step. In the center of chaos, make one definitive act. Just write. Say yes, stay alive, be awake. Just write. Just write. Just write.
When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.
Then what shall I write? I can't just write that this happened then this happened then this happened to boring infinitum. I'll let my journal grow just like the mind does, just like a tree or beast does, just like life does. Why should a book tell a tale in a dull straight line? Words should wander and meander. They should fly like owls and flicker like bats and slip like cats. They should murmur and scream and dance and sing.
In music industry they always want you to write something like the one that was popular. And that's something you kind of have to just - sometimes you just say yes to people, like, "Yeah, yeah, yeah, sure," and then you just write the one you want to write.
I never write a tune before the lyrics. I get the lyrics and then I write around them. Some people write music and the lyrics come along and they say, 'Oh yeah, I've got something to fit that.' If that's the way people write songs, I feel like you might as well just go to the supermarket.
I write a lot of more instrumental music than I do vocal music. It's because I come out of a background of playing piano and then playing sax for a number of years. I kind of got into rock backwards. A lot of guys go into rock and then get sick of it and then go into something else. I came the other way, so I've always just had a lot more stuff lying around.
Because my musical background is so diverse, it lends me to have very much my own style and it helps me to relate to the music as I'm going to play it. I just write. And if it comes out country, it's a country song. The funny thing is, I write all across the board. I just write what hits me at the time.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
What I try to do is write. I may write for two weeks ‘the cat sat on the mat, that is that, not a rat,’.... And it might be just the most boring and awful stuff. But I try. When I’m writing, I write. And then it’s as if the muse is convinced that I’m serious and says, ‘Okay. Okay. I’ll come.
When you're in a daze - whether it's from running or a hangover or whatever else - I think that ideas from your subconscious can slip through more easily. The way that I write songs, for what its worth, when I'm playing music, if it's good music it will bring images forward into my mind and then I'll write down what the images are and that becomes the lyrics. I think that process is just easier if the superego has just gone away in disgust for the day.
When I sit down to write, which is the essential moment in my life, I am completely alone. Whenever I write a book, I accumulate a lot of documentation. That background material is the most intimate part of my private life. It's a little embarrassing - like being seen in your underwear It's like the way magicians never tell others how they make a dove come out of a hat.
I'm coming from a Ginuwine and Usher background: slow and smooth songs. And that's why I really connected to Sam Cooke, because he was just very smooth. It's not like the James Brown types, which is all great stuff, but he was totally set apart from those guys.
We, Autolux band, write in very different ways; sometimes we play with the band and write music first and then form vocal parts and lyrics. Or I'll find some music, or a guitar part or something, and I'll just write an entire sketch of an idea from that. So I think things have always been that way, it's just that this time around we had some more obstacles off and on all the time.
"Smooth Sailing" and "Hall of Fame" are my top two nicknames. "Cool Guy." "Jolly Jon." "Fun Jon." There's a lot of derivatives of Jon. "Cool Jon." Some people took "Smooth Sailing" and "Fun Jon" and made "Smooth Jon." That's a good one. It's just starting to catch on with the general public. Just every now and then, "Hey! Smooth Jon!" Or "You're Smooth Jon, right?!" People aren't quite sure. I'm like, "Yeah." "Okay, cool, that's what I thought!"
This site uses cookies to ensure you get the best experience. More info...
Got it!