A Quote by Jon Hopkins
Sometimes you can just record anything and slow it down hugely and you'll find all these hidden notes and frequencies that match up really nicely.
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I just chuck a bunch of words down and whether they find themselves into a song... I have lots of weird notes on my phone. I often come up with a phrase that I really like, I write it down and it stays in my notes folder, and when I'm writing I will scroll through and see if it kind of fits and if I can mould a verse around it.
I keep a journal and just kind of take notes. I don't really so much sit down and write songs - I just take a lot of notes, and sometimes I sit down and put them all together.
All I really know in nonfiction is that when I come home, I've got all these notes and I'm trying to figure out what actually happened to me. I usually kind of know what happened, but as you work through the notes, you find that certain scenes write well and some don't even though they should. Those make a constellation of meaning that weirdly ends up telling you what you just went through. It's a slightly different process, but still there's mystery because when you're bearing down on the scenes, sometimes you find out they mean something different than what you thought.
If you look at a record under a microscope, the high frequencies are short jagged edges... and the low frequencies are long swinging ones are deep bass sounds. When it cut it at half speed, you're getting more of those on the record.
Sometimes I'll have words or concepts written down before I have any type of music or anything. So when I have that, sometimes I just hear a beat and, if I feel like it'll match with the story that I have written down sonically, then I'll just pair them together.
When you are making a record and if you spend too much time over it, you have to record it a tone lower or cut the tones lower because you can't reach some of the notes, I find this. But when you go on stage, you have to put the key up and it really changes the whole thing.
I definitely take notes, but I feel like sometimes if I take too many notes, it kind of bogs down my mind a little bit. So, I just write down stuff that I need to remember for the game.
Kids don't say, "Wait." They say, "Wait up, hey wait up!" Because when you're little, your life is up. The future is up. Everything you want is up. "Hold up. Shut up! Mum, I'll clean up. Let me stay up!" Parents, of course, are just the opposite. Everything is down. "Just calm down. Slow down. Come down here! Sit down. Put... that... down."
The frequencies of the notes in a scale—do, re, mi, fa, sol, la, ti, do—sound to us like they’re rising in equal steps. But objectively their vibrational frequencies are rising by equal multiples. We perceive pitch logarithmically.
To just slow yourself down, just to not do anything and drive around - I'm not like that. I'm not here to fill up the field.
Maybe sometimes I'm such a thinker, I reevaluate too much. Sometimes when it comes down to it, I really don't need to do anything, I don't really need to change anything. I need to just keep plugging away, working at it.
I think I've got a lot of dark lines in this record [Wild Things] that I've hidden quite nicely among the nice things.
I just find it really shitty that someone who never really produced anything, musically speaking, can just say, "I don't really like it." It just sucks because you put so much work into a record and someone disapproves."
There are times where you're in the zone and everything moves in slow motion, and there's sometimes when everything goes really fast and you have to slow yourself down.
If you want a film and they don't want you, sometimes you have to go fight for it. Sometimes that ends up just being a meeting really, just sitting down with them and just saying here is my vision for it and here is why I really love it. But for the most part, I think filmmakers gravitate towards people that are excited - as excited as they are about the film and as passionate about it. So sometimes going after it isn't so much a function of auditioning as it is just sitting down with the filmmaker.
I think if you asked people "what's the biggest problem in your life?" They'd say, "I just don't have time for anything!" And at our fingertips, if it isn't e-mail, it's our Blackberry, and it's our iPods and telephones - we never stop. We never take those moments to stop the stimulus to find out "what's going on in there? What's really happening?" And then things start to build up. And then we are almost afraid to slow down.
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