A Quote by Sunny Ozell
If I can't connect emotionally with the music I'm making, there's no point making it in the first place.
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Making [Pineapple Express] was a blast. I'd kind of gotten to the point professionally where I was pretty emotionally exhausted from making dramatic films.
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.
Making music can get so emotional that, if you don't set limits for yourself, it can push you or the person that you're making music with to a breaking point.
I love to zoom in and study why a chord is making me feel a certain way, but then I've learnt to zoom out again. Because if I'm not actually feeling it, there's not much point making it in the first place.
When we talk about music, we tend to place our experiences into one of two categories: making the music and listening to it. Delineating the two seems practical and obvious. In reality, though, there are a lot of opportunities for overlap, and it doesn't matter how you get into the music as long as you connect with it.
You have to be able to connect and re-connect to the passionate things that got you to a certain point in the first place. If you can connect and continue to hold onto that passion, that's the key thing that will help you get through tough times.
I wouldn't have known when I was a teenager that when I was coming up to being a sixty-year-old woman that I'd be making music, I'd be recording music, talking about music, and incorporating my views on the world into the music-making. So it's a very rarefied place to be, and I'm very grateful for that.
Jesus, music has always been my first love. I use music in my work because it's the fastest way to an emotional place. You hear a song, and that memory comes right back-- you're there... Making music is immediate, and it's all about you. If you're playing guitar, the feeling comes through-- the way you bend the note, the intensity with which you hit the strings. With making films, although it's real emotion, it's false emotion. You're lying.
You're not just making music for your personal use no more, just making music for your homies around you; you're making music for people around the world. Kids in Alaska - like, you're making music for everybody. When I make music, I just think on a larger scale.
When I first started making music, it was where I went when I couldn't express myself, when I wasn't able to connect with other people, when I couldn't talk about what I was going through.
I feel it's my job as the artist who is making the music to pair it with visuals that I see in my head while writing the music in the first place.
I feel like I've gotten to the point where when I get tired of making art I can make a smooth transition into making music and vice versa. There is always something to do.
I feel like I wasn't making music that meant anything to me until I was 26 years old, so I'm realizing that sometimes it takes three years or five years to understand what the point of even making music together is.
I think everybody don't know what color I am. It's like, "He's not black enough. He's not white enough. He's got a Latin last name but he doesn't have - he doesn't speak Spanish. Who are we selling this to? Are you making urban music? Are you making pop music? What kind of music are you making?"
Two things - one is obvious: always keep making. The second thing, with regard to music videos specifically - the music video industry can be a place that takes advantage of young freelancers and filmmakers. Make sure you're making stuff that you're proud of and you can get behind.
I certainly came up in an era where women were really making strides and making a point to beat down doors and find their place and crash through the glass ceiling.
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