A Quote by MO
What I love about working with Diplo is that it feels very free and fluid - we can work on a song apart from each other or in the studio, and it's always, 'Let's brainstorm, here are new ideas.' I like that kind of workflow, where it's constantly moving.
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I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
There are two kinds of people. One kind, you can just tell by looking at them at what point they congealed into their final selves. It might be a very nice self, but you know you can expect no more surprises from it. Whereas, the other kind keep moving, changing... They are fluid. They keep moving forward and making new trysts with life, and the motion of it keeps them young. In my opinion, they are the only people who are still alive. You must be constantly on your guard against congealing.
One of the things I really like about doing work online, and the thing I like about the work I'm doing now, is that I get to meet feminists all the time and I get to read new feminists every day on the blogosphere. And it's really that kind of diversity of thought that informs me more than anything else these days. It's just kind of learning something new all the time. And I kind of love that there's not really a feminist canon; or maybe there is, but it's being changed, that it's a constantly moving canon in the feminist blogosphere. I love that.
I'm constantly working on something new, whether it's a Garbage song, or for someone I'm producing or a song for film or TV whatever it is. I guess I'm sort of living in the moment and moving towards what I'm doing next. I think most artists are like that.
I think some of this just feels right. You're in the shower and you come up with a sentence and it's beautiful. You don't know how it's going to fit in the film, but you put it in because it feels right. This is a very long way of saying, so much of it is me feeling like I'm catching ideas rather than coming up with ideas. It's very fluid like that.
Sober Thoughts' is a song about an unhealthy relationship I was in with a girl, where we would continue to mistreat each other, to spite each other. We were bad for each other, yet we always came back together, because we thought we 'loved each other.' It was a young love, not a forever love.
Collaboration is being open to each other's ideas and benefiting from each other's perspectives in an open way. Collaboration is all about rewriting and rewriting and rewriting and helping each other to constantly improve a piece. And, it's also about spurring each other on to doing really great, hard work - it's easier to do it in a collaboration than on your own.
I feel like this song [Yello, "Oh Yeah"] was probably done in a couple of minutes in a studio. There was probably no thought behind it; they were just playing with some samples and threw it together. I feel like there's no dream behind the song. Usually there's a dream or some kind of passion attached to a song. This song feels very empty. It made a lot of money for the songwriters but at the expense of culture.
What I love about 'Midnight Train' is that it's a song about a journey, but the music actually takes you on that journey. It feels like you're moving through the whole song.
I love working with other people, and I love the fact that film is a collaborative industry and form of art. You're all working with each other and playing off of each other and getting the best ideas out of everybody.
I love working with people and having them bring something to the table that I couldn't. I think one of my favourite artists to work with has been Kucka. She's Australian, too, and it's great working with her because we kind of have a very similar take on music, and we like a lot of the same stuff. We're not super-precious about ideas.
It's different for every song. But for 'Say Something,' I think it was Chad who had an idea on guitar, and I had an idea on piano for different songs, and we just married them together. We bounce things off each other constantly and kind of massage all these ideas into a three and a half minute pop song.
New York is so serious about the creation of work. Everything is happening so fast, it feels like there's another studio, another session on every block, and I love that.
I go on at least 2-3 auditions a week in the pursuit of more work. So I'm constantly working on material and constantly honing and trying to perfect a craft that is never perfectible - it's always new, and it's always different. It's always a work in progress.
I think on 'ER,' my other long-running show, I had some ideas about what's going on. 'Stargate Universe,' they were kind of secretive too a little bit about what they wanted to do, but I kind of liked working this way. I like the surprises, and I like knowing just enough to work on the character.
What we love about the character Katie, played by Katy Mixon, is that she feels very universal and very relatable. And what we love about 'American Housewife' is that it feels like it could speak for housewives from New York to Los Angeles, from Boise to Miami.
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