Jonas Blue Quotes

I've always wanted to be a DJ so I could play the music I love for other people. That feeling hasn't changed, but my sets are always evolving. In terms of tailoring to a specific crowd, certainly I do play differently depending on the situation. It's a different feel, for example, in a small club versus a festival.

I can count on one hand the number of instrumental hits there have been over the last ten years.

Mix CDs are interesting. I'm known more for my artist albums and less for my mix CDs.

I'd been DJ-ing in these clubs in N.Y. and I hated everything that was coming out. So I decided I would make it myself. People were making mash-ups or remixes, but I was extra bored, so I actually started remaking these records from scratch.

I can read a crowd pretty well. I know what to play and know how to keep it interesting for them and for myself as well. Most of the other DJs are more like producers so they become famous because they make hits and then they start DJ-ing. But I'm more from the other way around.

A lot of the vocal music I've been doing recently has been quite clubby. But that's mainly because I've had more time to go to clubs, and that normally breeds that kind of influence.

Blending tracks and weaving and manipulating prerecorded music to create this mood, some people do it much better than others.

DJs are in incredible competition, musically. And they are the most musically creative and sensitive people in all the music charts. I am amazed how they are.

I'm a DJ, but I'm also a ridiculously high-grossing musician due to doing productions.

I'm always the person that is DJing spaces and moments. I'm crazy about music.

It's weird being a DJ and you have a playlist of your own songs that you could hold it down for an hour.

Some directors can become concerned when it comes to music, because it's the end of the process and they're tired. They're worried that the music will intrude or waste something, that a composer will overwhelm the story.

There's been a tendency to think that TV music has to be cheap and fast and for films it has to be nothing but orchestral music, but it's not right.

I go out pretty much every night, and when you spend time in those clubs, watching how the DJs make their mash-ups to heat up the room, you want to create that sound yourself.

The intelligent use of contemporary music in film has an enormous audience.

I've been a DJ since I was about 13, and I started out as a hip-hop DJ. So I was always playing records that would just get people going. I was just doing parties and high school dances and whatever, and then, progressively, I started making my own music, writing little songs here and there, but it was never anything crazy.

If I sample a song, I usually make samples out of the whole album. Then I move on after that. Doesn't mean I'm going to release that whole album, but I do that.

I like so many kinds of music, and I work with so many kinds of music as a producer. When you work in 14 different genres, I find myself writing in those genres.

I'm a film composer, but I'm a hip-hop guy.

That's the whole part about being a deejay: You've got to make sure you are prepared. At the end of the day, you do have your genre - house music, dance music - but there are many different ways of playing that.

We'd take records you'd never hear in clubs and make them into club tracks. We were doing B-sides on records that had nothing to do with the songs, and calling them Masters at Work dubs.

Sampling is very important for me. It's the backbone of hip-hop.

I'm a hip hop dude who loves scoring for film.

I'm big on the studio. I like to stay in it 24/7.

I have a lot of friends who do EDM music; they had to tell me what a 'drop' was.