Tierra Whack Quotes

The second I walk onto the set and I know that there's a camera and I know that there's a David Twohy behind that camera, there is zero pressure. There is just me jumping into a pool called 'Riddick.' It's the most free I am. It's like channeling something.

I never really approach collaborations as kind of normal things where they're arranged and they happen because you've arranged them. I've always been like this, I just have friends I hang out with, and while we're hanging out, if music happens then it happens.

I enjoyed making this album a lot because of the knowledge we acquired over the last 3 years.

My collaborations tend to be pretty organic. It starts off with me being a fan first.

After being in a 'professional rock ensemble,' there's a great joy in making music with friends, without any release plan.

It struck me that it would be fun to just play stuff with Hauschka. Not even have a project in mind, but just get together and make up some music and see what came out.

I like befriending my collaborators because I'd rather make music with people I like than people I pretend to like.

It used to take me a really long time, and I used to not be able to write in the studio because I felt there was a lot of pressure to be perfect. The more I'm collaborating with other artists, the more I realize being in the studio is about catching a vibe.

Making music together is the best way for two people to become friends.

When you're in the moment and not over thinking the song is when things tend to really work. You're not so focused on the minutiae. You're focused on the overall feel, and that's the stuff that I get from the demos. First impressions are always the most important. When you start getting into a full-band, democratic context the little things almost immediately get thrown out the window because you don't think they're important.

The part that I felt most comfortable with going in was just working with actors and trying to make them feel comfortable and safe so they could find the performance. That part felt organic to me.

I'm happy in English studios. I just feel like there's no pressure anywhere.

I always work better when I do not reason, when no question of right or wrong enter in,-when my pulse quickens to the form before me without hesitation nor calculation.

One of the things I'm adamant about as a bandleader is not micromanaging. I'm an advocate for the concept of allowing everyone to be fully vested in what they're doing, so everyone contributes whatever they're inspired to contribute. Our music is not about me; I contribute one part, one experience, and drummer Terreon Gully brings something completely different.

You can't change music by yourself.

There comes a moment when it is no longer you who takes the photograph, but receives the way to do it quite naturally and fully.

I don't really know where the songs are coming from often. Many of the best things I made up were just off the top of my head.

If I knew what the picture was going to be like I wouldn’t make it. It was almost like it was made already – the challenge is more about trying to make what you can’t think of.

When recording, whatever you first think about, you come out with something totally different at the end of it. Whatever plans you have you throw away, because it's always going to end up sounding pretty different from what you initially thought of. I probably only had about five or six songs when I started, and it just sort of flowed from that.

I just wanna hang out. No big deal!

When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff. But there's this thing that happens when the song first comes out, that sort of magic when it first comes out of the ether, and you can't even really explain where it comes from. That happens so much with music, and people understand that with music. But I really think that a lot of movie and TV should be the same way.

Ideally a painter (and, generally, an artist) should not become conscious of his insights: without taking the detour through his reflective processes, and incomprehensibly to himself, all his progress should enter so swiftly into the work that he is unable to recognize them in the moment of transition. Alas, the artist who waits in ambush there, watching, detaining them, will find them transformed like the beautiful gold in the fairy tale which cannot remain gold because some small detail was not taken care of.

For me, practice isn't doing scales but doing things like writing, jamming with other people, or playing gigs.

I've learned that if you can keep it calm and keep it fun and loose, then that allows for ideas from the crew. I don't care where an idea comes from, whether it's the crew or my producer or the actors or anybody. I just want it to be fun, and if that's the case, then I think you make a better movie.

During those times like in my early years as a writer I could actually write a song in ten minutes because all of a sudden a song is writing itself, I'm just putting down words. It just seem each line that you put down flows with the other ones. It's like writing a love letter you don't think about it, it's something from the heart.