A Quote by Poo Bear
Finally, I've reached a place where if I'm working with an artist, they allow me to just do whatever I feel. Growing up, it was like, 'We want another 'Peaches and Cream.' Then you realise... why would you want a 2001 Mercedes Benz when I'm making 2018 Benzes?
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I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves. Then you can edit or mess around with what they've come up with. But you have to allow the artist that space.
But I'd like the pie heated and I don't want the ice cream on top I want it on the side and I'd like strawberry instead of vanilla if you have it if not then no ice cream just whipped cream but only if it's real if it's out of a can then nothing.
I feel like I've finally got to this place that I really want to be. The place where, in my fantasy, the characters just get up and walk around - this interstitial place between humans and dolls. But I also feel like, where am I supposed to go from here? Because this feels like the place I've always wanted to be, for my whole life of shooting.
Derek’s like, “So . . . what do you want to do first?” “I don’t know.” “Feel like ice cream?” “It’s, like, three degrees out.” “That’s why getting ice cream would be badass.
New York has always had a love for Southern artists. There's no place else that makes me feel like the city does. I just love the immediate nature of the city, you can get whatever you want whenever you want it and do whatever you want whenever you want to.
It's not that I don't want to, it's just that there's no money in it. By that I mean the way the video business works now, the artist and the record label send out a song to a bunch of different directors and say, 'What would you do with this?' Then everyone has to come up with an idea and bid on it. For me, it's like, 'Hey, you want me to do it? Then pay me. I'm not auditioning for you.'
Slim Shady: Hotter then a set of twin babies
In a Mercedes Benz, with the windows up
When the temp goes up to the mid 80's.
There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.
Once people see this 'Unplugged,' I just want them to feel the spontaneity, to feel passionate... I want you to see another side of me, that's free, and feel where my head is, where whatever happens, happens. I want you to feel inspired.
Growing up, I wasn't as comfortable expressing myself as I am now, and I think that's why I chose acting: because it's acceptable to have your feelings. It's a place that they want you to feel. Whereas in life, growing up, it was 'Be quiet!' and 'Keep it to yourself.'
Behind my door at home, that's when I'm relaxed, and that's when I can allow the emotions or whatever - to feel just what I want to feel - so a lot of people don't know me in that respect. I need a bit of space, a bit of a place to come home to and not have to pretend or perform anymore, where I'm just myself.
I have to say, I feel a weird sort of calling in filmmaking that I didn't feel with other things. I feel like there are things in life you want to do, and then things you are called to do, and hopefully you can allow yourself to want to do whatever you're called to do.
The U.S. Open is the only place in America where you can't trade in your Mercedes-Benz for a hamburger.
I sleep as much as I want. I'll sleep, like, 11 hours, unless I'm working. Sometimes I do feel like, 'This is weird; I should just get up so I can fit into the world.' Then I'm like, 'Why?' I don't have a nine-to-five job.
Over a year before I started recording Salad Days, so I finally sat down and was like I have to do this. And it did feel like a chore. I was looking at it in a completely wrong way, trying to one up myself. Just the typical sophomore album bullshit. The main thing I got out of it is I eventually gave up on all that stuff. I had to re-learn why I liked making music in the first place, why I liked recording in my room all the time. Because it's fun. It's fun for me.
That sucks, though," Wes said finally, his voice low. "You're just setting yourself up to fail, because you'll never get everything perfect." "Says who?" He just looked at me. "The world," he said, gesturing all around us, as if this party, this deck encompassed it all. "The universe. There's just no way. And why would you want everything to be perfect, anyway?" "I don't want everything to be perfect," I said. Just me, I thought. Somehow. "I just want—
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