A Quote by Johan Renck
When you're young, and you're doing stuff, you're making music, directing, making art, it's all future directed. You want to change stuff onward. And when you get older - this applies to me - you think about the things you want to do and how it will be perceived by your children one day.
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Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world.
Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world. You're just trying to make a love letter, a gift.
What is the art experience about? Really, I'm not interested in making Art at all. I never, ever, think about it. To say the word Art, it's almost like a curse on art. I do know that I want to try to get closer to myself. The older I get, the more indications I have about what it is to get closer to yourself. You try less hard. I just want to be.
Two things - one is obvious: always keep making. The second thing, with regard to music videos specifically - the music video industry can be a place that takes advantage of young freelancers and filmmakers. Make sure you're making stuff that you're proud of and you can get behind.
I'm not going to try to be too young because at the end of the day, I'm not 20 anymore. I don't want to sound corny or look corny doing young things. All the stuff that the kids are doing, that's not my place. I believe that everyone followed me back then, they're still here. That's who I'm trying to talk to and relate to. All the trap music and all of that, it's great but I can't do that. I'm going to stay vintage Ginuwine and stay at the place that got me here. That's what people want.
There are two aspects to making movies: One is the feeling of wanting to push myself into stuff that I don't know how to do. Then there's the other impulse to try and earn a living. I want to be careful about not confusing those too much - not that those things can't have a healthy overlap. Plenty of people start out making work that isn't terribly commercial, and then make work that's more commercial but still good. You just want to watch out for that thing where you tell yourself that you're doing your best work when you're not.
For me, some of the key points of drag are knowing who you are, how you want to go about making people happy with your art, and why you're doing what you're doing.
I think when things get hard with your family, it's really easy to want to isolate yourself. The world is so harsh, so when stuff happens outside, you want to go to your family, but when stuff happens inside your family, you sort of start to feel like, 'I'm alone. There is no place I can go to where just nothing will happen to me.'
The thing about writing or making art is that I'm not thinking about that stuff while I'm doing it. Like the driver's ed kid, in retrospect I see that that was meaningful, and I felt close to him in that way, but at the time I just thought it was fun to draw, and that's all it was. I think that's what's weird about life and about making art. You have to talk about it later. I guess I should be prepared to talk about it now. That is why I'm here. But again, pass.
If you're in music, you're in music, and if you're in music you just want to keep making records and playing. That's what it's about, isn't it? At least, that's what I always thought it was about, anyway. I don't think I could bear years and years off. Perhaps in me older, older age, maybe I will, for physical reasons. But to me you've always got to keep proving yourself. I never want to just sit on me laurels. You have to keep forging, to prove yourself to yourself. I always think, every time I start a record, this could be the best thing I've ever done.
In New York, I'm playing in a church, solo, doing instrumental stuff. There's talk of doing more, like, installation-type things with some of the specimen horns I've played through. Just filling a room in a museum with these horn-speaker sculptures and then making loops that run all day, and you walk around the room and sort of mix the sound by where you stand. That's all way in the future, but that kind of stuff is a different way of thinking about performing.
I'm making music for people to have fun and party to. I'm also making real music as well. I'm making a lot of pop stuff. I'm definitely just making music for the consumer and the listeners. So shout out to all my fans.
Technology has given us convenience, but at the same time it's making musicians work harder in that if you really want to make money making music and selling albums, you have to go out there and perform. And hope you sell stuff like merch, and get on YouTube, and all the other ancillary sort of things that go along with that.
I really do know what I want with my life. I think that keeps me from making bad decisions and spending time doing stuff I don't enjoy.
One of the things we joke about in the FPS development is it's so hard to get the player to actually bother to look at all the cool stuff you've been doing. You spend a lot of time making really cool things, and usually the player isn't looking where you want them to.
I want to see what my opportunities are, of course. And I want to see how high things go. But I also just ultimately have the most fun when I'm making stuff that I feel like makes me laugh.
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