A Quote by Kygo
I don't want to make just tropical house. I want to make everything, just like, whatever I feel like making.
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When I started making my tracks in the style that people call tropical house, I didn't do it on purpose to make it sound tropical. I made whatever I felt sounded good. I just wanted to make my own thing, and then suddenly people started calling it tropical ... I'm like, 'Yeah, that's probably a good name for it.'
It wasn't just like, "I want to make a record that sounds like classic rock" at all. It was more like, "I want to make a record that is a little more unsettling and maybe isn't as easily understood now." That just seemed more important, like, for me to make as an artist, than it was to make something to make people feel safe right away.
I just feel like with independent movies... they're really free to do whatever they want. They're not afraid to make a statement about anything, and there's not a huge studio behind them making sure that everything is wholesome and politically correct and all that.
I just want to be the biggest artist that I can be, and I want to make a difference. I feel like Michael (Jackson) made a difference with everything that he did. He was so charitable and just always on-point. I just want to be where he is, as an artist.
I have no friends and I never leave my house. You just have to make a choice to just refuse to be involved with things that could get you in trouble. It's easy when you feel upset or depressed about something to want to go to a club and want to drink, but instead I just force myself to sit and feel it and deal with it, and try to grow from it, because I don't want to go down that path. I'm one of the most isolated people in existence right now, but it's worth it because if I wasn't making that decision I would be throwing away my career.
I want to be able to like just chill and make whatever I want to make.
I feel like every time I do a video I say I want to make it like a movie, I want to make it very entertaining. So I start to just scan in my brain for what I haven't done before so I can do something unique and ridiculous, and what that song means.
When art is really great, it's really powerful, can really do something to you, make you feel more alive and make you feel more connected to something. If you don't feel like that when you do it, and you just make a movie to make money, that would be pretty boring to me. I just wouldn't do it. That would be like sitting in an office, which I don't want to do.
Making films can be very lonely, and that's the part I don't like. I don't want to feel like I'm pressing 'pause' on my personal life to make a movie. I want to feel like I'm still creating relationships and things are moving forward.
People love the electric rake. You just hit it or whatever you want to do. You can't play 'Swanee River' on it. You have to just make terrible noise. Occasionally, it will make a sound like a note.
I don't ever necessarily feel masculine or feminine. I just feel... I don't know. Like, when I'm wearing women's clothes, it's not like I'm dressing like a lady, a woman; it's just like I'm doing whatever I want.
If I can make you laugh and learn, I want to be like George Carlin and Richard Pryor and Eddie Murphy and Sam Kinison and Chris Rock and Dave Chappelle. I want to be of that ilk, I don't want to just make you laugh, I want to make you think.
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.
When you make a film, you're creating the illusion of a natural experience. But everything is created on purpose. If I want you to be scared, I'm trying to scare you. If I want you to cry, I'm trying to make you sad. If I want you to laugh, I'm trying make you laugh. So, how I get you there is what makes it interesting, because I also want it to feel seamless, and not forced. That kind of constant experimentation is just fun to explore, and I love it.
Classical singing - everything had to be homogenous, and it had to just feel like one continuous flow from top to bottom, bottom to top. And in jazz, I felt like, oh, well, I can sing these deep, husky lows if I want and then sing these really, like, tiny, laser highs if I want, as well. And I have - I have no obligation to make it sound like it's just one continuous flow.
When we have that scene where I shoot that huge machine gun, my first thought was "Why does anybody want this? What is the point of something like this?" I know some people feel powerful or whatever and I'm just like, " I feel like I want nothing to do with this."
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