I have to say. I kind of love all that stuff - those physical challenges. I guess there will come a time when I'll get sick of it but at this stage, I just like it all.
I was a huge 'Pyromania' fan. You would never expect it, but I was in love with Iron Maiden; I was such a huge fan. I went to a lot of rock stuff like Van Halen, too.
I think that music and visual arts can complement themselves nicely. They do different things - the music forces you into a different mood and perspective whilst the visual stuff can engage you in a more direct cognitive manner.
I compose my own stuff. I've been writing songs with words. I've been playing more on the keyboard because I can transpose it to sheet music on the computer.
I grew up with classical music when I was a ballet dancer. Now when I have to prepare an emotional scene, to cry or whatever, I listen to sonatas. Vivaldi and stuff. It's just beautiful to me.
Playing music for as long as I had been playing music and then getting a shot at making a record and at having an audience and stuff, it's just like an untamed force... a different kind of energy.
For me, music was the only reason I went to school. I was kind of a street kid, in a lot of trouble committing crimes and stuff. Music gave me something to focus on.
I'm really careful with what the music gets put with, and we say no to so much stuff, loads of it, for things that might quadruple the sales of my album. But if it doesn't fit then it doesn't fit, you know?
The most successful stuff is sold to you as indispensable social information. The message in the music is, 'We are terribly, terribly slick and suave, and if you listen to us, you can probably get a leg up in society, too.'
There is a lot of work just in terms of traveling and logistics and people and gear and all that kind of stuff. But I never really have problems playing music. That never seems like work.
I was just reading about Paul Simon in 'Uncut', and it was fascinating. I never think about him much or think about his music or anything, but it's interesting to hear his ideas on stuff.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
I think the industry is oblivious to the fact that most people listen to all kinds of stuff. I personally don't know of anyone who listens to only one genre of music. It's vanity because no one does.
The only person who really impressed me with making new music is Cudi. Everyone else seems to be jumping on the same music, the producer-made stuff, but the one person that's made new music to me is Cudi.
When I have a chunk of time that I can really dedicate to music, I really want to get into it. I want to do some really hard stuff and push myself.
Absolute 80's is three hours of mainstream 80's music. I also do New Wave Nation that is more cutting edge. It is more punk stuff from the 70's to the 90's.
I can think and play stuff in classical music that possibly violinists who didn't have access to other types of music could never do. It means I'm more flexible within classical music, to be a servant to the composer.
I think it is the weak and the young and the minorities that you need to look after to get a healthy creative environment - to get a lot of choices, a lot of different styles of music, a lot experimental stuff that everyone else feeds off.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
The music I always liked as a kid was stuff I could bum out to and realize, 'Hey, someone else feels that way, too.' So if someone can do that with my music, it's mission accomplished.
I rented a house, recorded the stuff in a house. Just took my time 'cuz sometimes it's just rush, rush, rush. I just wanna live and play music.
