I started out really making music in my dorm room, and it wasn't really producing or anything like that; it was you making something.
I started out really making music in my dorm room, and it wasnt really producing or anything like that; it was you making something.
When you see all the suits in the room, everybody in the room has on suits, you know, the women, too. We're not wearing dresses and chiffon and we're not as fun as we used to be.
Sunday-the doctor's paradise! Doctors at country clubs, doctors at the seaside, doctors with mistresses, doctors with wives, doctors in church, doctors in yachts, doctors everywhere resolutely being people, not doctors.
A man ought to inquire and find out what he really and truly has an appetite for; what suits his constitution; and that, doctors tell him, is the very thing he ought to have in general. And so with books.
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.
My advice to young people wanting to make music and to be in this industry is to really spend your time making music. Make so much music you have no friends. Make music. Figure out what it is you love, and... because if you're making cool art, then everything else will fall into line.
My memories of mealtimes are a real bleed of music and food. Music never really stopped in the music room, because everyone would move out to the table with their sitars.
When I was growing up, I wasn't in bands, and had really no intention of ever doing music. I went out to California for college, and kind of on a whim started making music really as a joke, and over the course of the next five years started playing a lot of shows, and music became this really integral part of my identity.
I don’t have a theoretical language for music. I’m really inspired by sculpture, so I like to say, ‘you’re not making music, you’re creating a space. You’re building a room, putting some objects in it, and seeing what happens to the objects over time.’
My dad was such a music fan that the only way to really hang out with him was to sit in a room and listen to music.
It seemed like the best weapons in my life had always been the most innocuous: empty plastic bins, a blank CD, an unmarked syringe, my smile in a dark room.
Making music clips, I have a responsibility to depict the artist in a way that suits them, and feels comfortable with how they want to present their music. From there I usually try to tell a story visually that complements the music, that lets the music be the hero element of the project. I just try to do something that feels sincere and creative and a little bit home-brewed so it doesn't feel too plastic or phony.
When I was working on 'To Pimp A Butterfly' and 'DAMN.,' I'm really making music for Kendrick. It's a different mindset than when I'm making music for me. I'm trying to get into his head and figure out what he wants because it's his vision. That's what I expect from people when they're playing on my records.
I found that so many people in the music business started out as metalheads in the Eighties - whether they're songwriters, producers, engineers or executives, and no matter what they look like, with short hair, suits or whatever. I feel like my generation of metal kids really tends to populate the music world to a large extent.
I feel really lucky that I somehow have blagged my way into loads of different experiences. I find making a film fascinating, I find making a play amazing, and working with my band and scoring things... it's all really cool. I'm just a glutton for experience, really.