When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
I genuinely don't feel that anything that's been written or said about me has overshadowed my music, and that's the most important thing as far as I'm concerned.
I make the music my ears want to hear, I wear the clothes my body wants to wear and the ones boys call me back for, and I generally make the songs that my feet dance to.
You listen to a piece of music and it will remind you of something - it might make you happy, it might make you sad, but it is very emotive. And I think that Duran Duran have always understood that.
It's never been seen that a street artist go as far as I've gone - keep consistent without wanting to do a bunch of ventures outside of music to keep my face out there.
I believe that there are still people who believe that game music is something equal to just an effect incorporated into the game, something like a BGM. And therefore this is something that I would like to show that is not true.
I used to be with a publishing house called Roosevelt Music. A gentleman there told me he had seen Peggy Lee perform Fever in Las Vegas and I found out later she wanted to record it.
I don't really live like a musician myself. I think music is just something that I do, but I'd like to be doing lots of other things. I like to cure all kinds of illness.
Many people die with their music still in them. Why is this so? Too often it is because they are always getting ready to live. Before they know it, time runs out.
For me, a paragraph in a novel is a bit like a line in a poem. It has its own shape, its own music, its own integrity.
I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.
I tried to take heavy metal... and balled it up and chopped it in half and really tried to create a new form of energy. I really tried to re-shape extreme music as I see it through my eyes.
If you think you're going to work with Cameron Crowe and not get into his music, you're crazy. But he doesn't force it on you. He doesn't force anything on you, which really makes things easier.
Steampunk, the repurposing of Victorian culture and technology for contemporary fun and profit, is so ubiquitous - in media, books, fashion, music, cosplay, and maker culture - that we tend to imagine its superficial aspects are all that define it.
Along the way, I've had different advice from different music producers. I've been told to tone it down, that the quiet parts of my voice are appealing and there's harshness to the loud part of my voice.
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 don't want to be the cliche American Idol dude. I want to be different, you know - that's the whole goal, me and music. It's about being yourself and being unique.
I have no idea why I won, man. I guess some people liked the music that I was doing. I'm just lucky. I was just doing my thing each week.
I know what my sound is. I'm just trying to get it out there how I can explain it. I'm not trying to write or put out some music that doesn't represent me.
I don't see why I should give my new music to iTunes or anyone else. They won't pay me an advance for it and then they get angry when they can't get it.
I came into music because I thought the presentation of poetry wasn't vibrant enough. So I merged improvised poetry with basic rock chords.
