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Feelings are more dangerous than ideas, because they aren't susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
What people call unemotional just doesnt have a single overriding emotion to it. The things that I like best are the ones that ambiguous on the emotional level.
One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places you wouldn't if you knew better.
Every band I’ve worked with also wants to be countercultural in the sense that they want to feel that they’ve gone somewhere that nobody else has been.
For me it's always contingent on getting a sound-the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards.
Sometimes you recognize that there is a category of human experience that has not been identified but everyone knows about it. That is when I find a term to describe it.
At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art.
Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.
I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.
Attention is what creates value. Artworks are made as well by how people interact with them - and therefore by what quality of interaction they can inspire.
The difficulty of always feeling that you ought to be doing something is that you tend to undervalue the times when you’re apparently doing nothing, and those are very important times.
I describe things in terms of body movements. I dance a bit to describe what sort of movement it ought to make, and that's a good way of talking to musicians. Particularly bass players.