Quotes from Flying Lotus

People don't really care to be around you when you're going through tough times.

I never leave L.A. for too long. I'm not one of those that go on a tour of the whole world. I probably should be, but I'm not.

I had the whole 'Ghostbusters' toy set with the firehouse and the car and everything. Sometimes I'd use my grandpa's camera and make little stop-motion cartoons with those toys - I was definitely a weird kid.

When I made '1983,' there were a bunch of tracks that were in the early drafts that didn't make it because they just sounded like tracks for rappers, and that's not really the sound I look for when I produce my own albums.

I'm a silly guy.

With every album that I do, I try to feature a new instrument or sound.

I had a little Walkman, the worst Walkman ever. It was the yellow one, that underwater Walkman. Like you need to take a Walkman under water.

I was 10 years old when the Northridge quake happened, and I lived right in the area, so it was a traumatic thing for me. I'd never had anything like that happen before. It's always stuck with me.

I wouldn't want to get involved with a game that's a stinker - I can smell one of those a mile away.

I love my Fender Rhodes. It's been a part of my family since that keyboard came out, and I've had it reworked so that it's in the best condition it's actually ever been in. That is my baby.

I was first inspired to make music by my cousin Oran. He was making music on an old Mac II by himself in his little lab, and I just started taking up after him. He was the first person to put a machine in front of me to work on. He was like my big brother, someone who I looked up to.

Before I started Brainfeeder, there were rumblings in our own circle about creating a label for us all. Then I started to see all these other ones from Europe try to capitalise on the scene. It didn't make sense to me that there were all these people who were trying to build on something that was in our backyard.

Kendrick is a true genius artist.

It's the old-school jazz mentality that I connect with the most. I dig the idea of the seeker, the guy who's always trying to figure out why he is doing music and trying to understand and make sense of his instrument in a world which deals with rigid instruction.

When I was in middle school, that's when I first started making beats. I was maybe 14, 16, something like that.

I know what it's like listening to Aphex Twin driving down the beach.

I feel like part of my journey as a filmmaker is to tell different stories, whether they are just a black perspective on things that aren't necessarily hood movies, or Tyler Perry movies or Ava DuVernay movies. Love all those people, but that whole thing has been sowed up already.

Thundercat, specifically, is insane. I'm always surprised at the things he comes up with when we're jamming out together. I gotta try to keep up with him and his ideas, be able to respond without speaking, and come through with some more music. He challenges me to keep it musical and not so computer.

I first was introduced to really, I guess, underground electronic music when I was in middle school.

I am a big cinema nerd! I've absorbed a lot of films.

I actually really liked the music to the 'Friday the 13th' Nintendo game. I still listen to it all the time. I sampled it in a couple records, too. It's hypnotic and dark but also really pretty.

Whenever it gets a little cold in L.A., it gives me an excuse to light my fireplace. You could stare at that joint for, like, a cool two hours. It's entrancing.

I decided to play the saxophone because it was the most obvious instrument in my family. There were a lot of saxophone players in my family, and there were extra saxophones, so that was an easy one to pick up. It was fun - it was okay - it just wasn't me. It didn't feel like my instrument, so I never followed through.

I get homesick driving to the grocery store.