Quotes About Originality

We allow no geniuses around our Studio.

There is some sampling on my records and a lot of what I call replays, where I'd have musicians come in the studio and replay the sample from the original record. But mainly, we'd come up with our own music.

I met will.i.am in the studio and played him a couple of songs and he liked them. We're similar but there's nobody in my lane doing what I'm doing.

Usually, in the studio, on this sort of thing... you just go out and have a play over it, and see what comes, and it's usually - mostly - the first take that's the best one, and you find yourself repeating yourself thereafter.

There are a lot of characters that you can get into that don't exist in the studio world.

If you want a studio to back you, you want to be doing something that's been done to death!

I don't want to only make the movies that studios will greenlight.

Studios are often very nervous of things they don't recognize, by which I mean things that haven't been done before, and therefore, they take a really original idea, and they recognize the originality, and then they try and make it look like something they recognize. So they try to turn it into something far more procedural.

Besides kind of like the Wes Anderson, or, of course, a lot of the European movies, most everybody in the States, the big studios, make pretty much the same film. And we're kind of held to Pixar standards, or Disney standards, as it's kind of always been in the animation industry.

It seems like studios and networks only greenlight stuff that has familiarity to them. If you can be like, 'Oh, it's 'Workaholics,' but it's Asian girls,' they're like, 'Yeah, we've got it. We know exactly what the show is. It's greenlit.'

I don't study; I create.

Studying music, everyone sort of has their own style - it's not like everyone's going for the same part.

All directors are different. Certainly, the directors that I respond to the most are guys that figure it out by doing it, not by thinking or studying. Also, the kind of actor that I think I am - I learned about theater doing theater, not studying theater. I think that traditional school can be great, but also it can stifle original thought.

I began to become very infatuated at the creation of my own music rather than someone else's and my piano teacher used to get really cross with me because of the fact that I wasn't studying my lessons, I was writing things of my own.

And I realized, when I'd come in to the meetings with these corrugated metal and chain link stuff, and people would just look at me like I'd just landed from Mars. But I couldn't do anything else. That was my response to the people and the time.

It's why I started music, to have my own stuff happening - something that I can say is mine, something that I have ownership of.

We used to sit around and listen to the radio and not hear anything like the stuff we like, so we decided to play it ourselves.

It's a new game now, you know, you have to bring some fresh stuff.

Wolfgang Tillman's stunning large-scale pictures, being shown for the first time, were so offhand I failed to see them as art.

So for me, fashion was about standing out as an individual - and it helped me get the attention that most people try to get with publicity stunts or by doing other crazy things. But I just let the attention come to me naturally, and I think some of that has to do with my fashion.

A clone of Einstein wouldn't be stupid, but he wouldn't necessarily be any genius, either.

I'm not really into style. I'm more into confidence or having something to say.

I feel like with '2.5,' I created another style that nobody else is coming with.

What a newspaper needs in its news, in its headlines, and on its editorial page is terseness, humor, descriptive power, satire, originality, good literary style, clever condensation, and accuracy, accuracy, accuracy!