Phoebe Bridgers Quotes

In general, I don't feel artists should need producers.

Atlantic has been great to me. They didn't flinch when I told them I was self-producing, and nobody was popping their head in the studio.

Puffy produced four of the tracks on the album. Those are the four songs that are collaborations between Puffy and me. And he gives me my space to work even when we work together, like with my producer and my vocal coach.

When I go with different producers, and they've thought about what they want to do, I think they feel a little bit more free, because they know almost any sound will work on my record if we pull it together properly - so they don't feel so limited.

I'm really excited because Interscope is really focused on artists. They've been working side by side with me creatively and allowing me to make a lot of the creative decisions, which you don't always hear about. That's why I didn't want to sign originally with a major label.

One of my favorite things is producing other artists because, in many ways, it's a lot more freeing than working on your own music.

I want to be in cahoots with bands who want to make the record of their dreams.

It wasn't until I became involved with 'Nashville' that I thought I had opportunities to record my music in a way that I would want to put it out into the world.

It's really nice to be able to do what I'm doing without having to compromise with another musician.

I'm making the music I want to make, in my own space, and it's just incredible to be able to continue to do that.

Directors tend to kind of let me do what I want to do.

When I'm dealing with Britney Spears and Katy Perry, these massive brands, like, really, very Coca-Cola, you know what I mean? There are certain kinds of standards. There are risks you can take, and there's risks that you don't. And I think I'm interested in taking a little more risk in my own music.

When you get to a point where you're not beholden to a record company, then it's up to you to say, 'OK, enough knob-turning. We're done.'

From its conception and that one and only meeting, 'HITNRUN' took about 90 days to prepare its release. If that's what freedom feels like, 'HITNRUN' is what it sounds like.

The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.

That's one of the reason T-Bone Burnett calls me... he thinks I'm used to doing what I do in the studio for him.

I wrote a draft of 'Playboy' for Warner Brothers, and it was impossible to really be independent of Hugh Hefner. In the end, Hugh Hefner was unable to take the back seat required to be able to write something about him that I felt I could do.

Dudes I work with have to be like-minded to where I just hand them a beat that has a chorus and they can do with them what they gotta do. If they can't do that, I usually don't work with 'em.

I think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.

I never did albums fully at DFA; I always would go someplace else so I wasn't making a record in my office, basically.

I stopped making music for other people.

Attention, it just comes and goes. Since we don't have a major label, it's like, what are we gonna do next? You have to make your own decisions.

Honestly, the thing that I have found to be most useful over a long career, or maintaining a long career, is taking back the power at some point and self-producing.

I'm usually just writing lyrics alone in my room, but I'm happy to be producing and writing chords anywhere.

I would love for Radiohead to give me a call and say, 'Hey, kid, we wanna see what it's like working with you. We want you to produce our next record.'