Labrinth Quotes

A lot of times when you're making a record, you put your head down and charge forward until you're done. You just hope that the ideas hold up, because you're kind of lost in your own storm.

You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.

With every song I have a person in mind who, in a perfect world, would perform with me. Usually I end up not getting that person, and I'm forced to settle for someone else.

It's really such a personal journey, making a record, but even more so writing the songs.

I'm just really waiting for the music to get cooked the right way, and once it's cooked, I'm going to serve that meal that everybody's been waiting for.

When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.

There's a consistency in my work that pops up independent of the limitations of the technology.

I've never made a record that didn't sound better than what was in my head - that's sort of my rule.

Most bands have a sound that they're already identified with, so for the producer it becomes a process of helping them find their muse in the studio to make a record that will not only satisfy them artistically, but will also do something in the marketplace.

I've written more songs for this record than I ever have in the past so I'm trying to give it a lot of special attention to be sure my ideas really get translated right.

When you create a movie, you create something in your image.

As a producer, you're pretty much creating a body of work that an artist has to stand behind.

Back when we were first making records, you didn't just make the music, you put a great deal of energy into the way it looked, and every word that was written on the whole thing.

I knew the second I finished the first record - 'House Of Balloons' - and had all this material leftover that a trilogy would be best.

All I have to do to continue to make things work is make great records, and that's more important than having a crazy master plan.

It don't matter who I'm working with. I just feel like I want to make the best record possible.

I know when I've written a good song when I can imagine the video. If I can't imagine the video straight away, I'm not gonna put it on my album.

When I'm in a session with an artist, my job is to help execute their vision - so it's whatever story they're telling, and the news doesn't specifically affect that.

My biggest struggle is time and trying to create the quality of music that I want.

I'm just thinking about the vision for how I want my music to go and what I want it to say. I'm always creating in a way, even if it's just thinking about it.

I believe in working on the music right up until it's ready. And then I'll worry about how to let people know it's there.

I make one film in three years, if I go wrong it will take me another three years to prove myself.

With Dr. Dre, he's a perfectionist. A lot of people ask why 'Detox' is taking so long. It's because Dre is somebody that is trying to top what he's done. Will he do it? I don't know if he ever will, but I respect that he's trying to do so. You have to wait for a masterpiece.

I always want to put out an album when I know what it's going to be about. I don't want to throw in all these random songs and say, 'Okay, that's an album.'

I don't really feel like you're making a record unless you pay attention to it.