Quotes from Metro Boomin

I started making beats when I was 13.

In high school, for two years, I made all my beats on earbuds. I'd just guess, so the frequencies would be all off.

Ain't nothing wrong with college, but I just feel like everyone's paths are different.

You just need the ear. But the ear is something, I guess, that you can't buy. And I can't play the piano fluently, but I feel like my ear is my strong point.

I met Kendrick, and we were in the studio. He picked a bunch of beats out; that was great. He's a great guy - we vibed out for the day.

Wiz is a cool guy, humble guy, down to Earth guy. You would really think he was just a regular guy if you didn't know who he was. But he still has a superstar aura about him.

One of the things I love about music and making beats is making something and watching someone's reaction, knowing you can do something to manipulate the way people move or act.

My name is Leland Tyler Wayne. My mom wanted to give me a name where, no matter what I wanted to do, I'd be able to do it. An astronaut. President. Whatever.

A lot of rappers are stars, but people like Drake and Lil Wayne, those are superstars.

I don't look at it as, 'Oh, I'm gonna keep making beats, and I'm gonna do that until I die.' But that's how some people look at it - gonna just keep making beats, get placement after placement.

I stay positive, keep positive energy to myself.

People like Tay Don, Don Cannon, and OJ Da Juiceman - those were the core people that I rock with. And I still rock with them.

You would think I'm mad or depressed all the time, but that's not the case at all.

The main thing about being a producer and not a beatmaker, the difference is the ear.

When I came up, one of my favorite groups and producers was Three 6 Mafia.

I'm always going to be heavy in producing. It's always going to come first. It never can't come first.

A lot of people are programmed to think, 'Oh, I want to do this, but I also want this.' It's like they want everything. You want your cake, and you want to eat it, too. Even though I guess you're supposed to eat cake, but I never really get that saying.

Growing up, flute riffs was big in rap back then. It's what I listened to.

I wanted to rap, but I needed beats. I couldn't buy any, so I just made my own.

Future is different from a lot of artists just because of his work ethic.

Future's like an older brother to me, and Thug's more like a brother my age.

When Thug hears a song, he knows how the whole shape of the thing goes. He can nudge the whole frame to the left to make it offbeat and sound how he wants it to sound.

Working with Thug and working with Future feels the same. They don't sound like each other, but their creative process and their level of talent is the same. Anybody who knows both of them would agree.

Me and Future recorded so many songs that as soon as we did 'Honest,' I liked it a lot, but I didn't see it as a single. But he just kept talking about it after we did it like, 'Man, this is big. This is big. It's gonna be a single.'