When you're younger, you have ideas and visions of what you're going to be like when you're older and what love is going to be like and who you're gonna be married to and all of these different things.
From Danger Mouse
I find that the kinds of music I'm drawn to are those that a lot of people take for granted.
Some people have been listening to the Beatles their whole lives; I didn't discover them until I was 18 years old.
I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.
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.
Basically, the way I do it is I get to work with a bunch of people; get a bunch of great people together, and you'll be able to get something cool on the other side.
I started out really making music in my dorm room, and it wasn't really producing or anything like that; it was you making something.
I have ideas all of the time from the beginning, but they never really wind up turning out like I thought they would.
After the 'Grey Album,' everyone thought of me as the hip-hop guy, the remix maestro. I didn't know how to show them otherwise.
I'd hate to have to leave music, but if I got stuck some place, I would.
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