Quotes from Porter Robinson

There's a really high emphasis on having good taste in my household and having nuanced opinions. We're always critically analyzing stuff.

But to me, 'Worlds' is meant as kind of an appreciation of fiction and stories and escapism and fantasy.

I wanted what I was doing to be really true to me and my tastes. That's what 'Worlds' was, me taking a break from what I was doing and doing something that was honest, authentic and real.

I was trying to write new music, but there was nothing I was reacting against. It turned out 'Worlds' itself became something for me to to resist.

My studio was lo-fi by necessity; I was fourteen with no reliable income.

If I could turn it on like a faucet then I think it would be kind of unearned. I feel like you need to struggle a little bit to make anything good.

An underexplored reason why nostalgic art is worthwhile is that it influences the way the past is remembered.

I wanted 'Second Sky' to be my way of recommending truly good music to my audience that I think is worthy of their time.

I had a lot of self-doubt when I started. And I still do. But I had a lot of the wrong kind of self-doubt when I first started making music and first started to tour. I think I was a little bit deferential.

I came into having an artist's career in this very sheepish and directionless way. It's hard to explain, but I was 18 years old and I was ready to go to college; that was the next step for me. Then suddenly I had a song that blew up... and I had this artist's career and I was on tour with these big names and I didn't know what I was doing.

I really am in love with the idea of an artistic signature.

If you trust your instincts and it doesn't turn out right, OK. But if you compromise and defer to what somebody else is telling you and it doesn't work out, that feeling gnaws at me.

Being like 14 and 15 years old, listening to trance music in my home, I just had this fantasy of going to these big clubs and going to these massives, and just hearing this gorgeous, delicate music.

As much as early 2000s aesthetics are something I was pining for and very much love, I would occasionally struggle to find one singular image or one singular site that summed up all of my memories really well.

I think Skrillex working with Justin Bieber - some immature people will have a huge problem with that; I'm just saying I don't care.

I like to shower for a really long time; that's a distraction-free zone for me.

When I'm writing good music and I'm caffeinated, I attribute all my success to the coffee, get really sentimental about the EDM scene and tweet a lot.

I spend a good deal of time doing, for anxiety what's known as exposure therapy where basically you're supposed to confront things that cause you anxiety and learn to tolerate. It's all about learning to tolerate discomfort rather that avoiding anything that might make you feel uncomfortable.

I want my music to be really big. I have no interest in DIY Brooklyn; I don't want to be a small indie band.

The warmest place I've ever been is my home here in Chapel Hill. It's an oasis of comfort and joy for me.

I do want people to have a sense of just the extreme level of meticulousness and care that goes into everything. I wouldn't expect anybody to catch all the details of what I'm doing. The level of obsession is so extreme.

EDM is very functional. It's meant to make people jump up and down and go crazy and it's real good at that. I just think in terms of expression, it's very very limiting.

My most successful song was 'Language' and I think partly because it's a nice, dancey record, but I'll see people cry in the audience to that song, and that's so much more interesting to me than making someone just jump up and down.

Writing music while caffeinated produces some interesting results. The stimulation basically amplifies my music-production-dependent bi-polarity.