Arca Quotes

With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.

When I wrote 'Grand Illusion,' I was making it up as we went along. I wrote this stuff and tried to do the best job I could.

I try not to think too hard about music. I like to see where it goes. I try not to give it a direction. I figure out what it is as it's forming. I don't have any goal in mind other than to make the best music I can.

When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making.

I think it's really important to not talk about how you're going to release something until you've finished it. People are like, "What are we going to make? What are we going to do with it?" and it's just like, "I don't know, we're just making music. Then we'll talk." You can't always write something you're happy with; you can't force it.

For me, the sketchbooks are more like a secret and wholly spontaneous jeu d'esprit and some of them I like as much as anything I have ever done. They are invariably without premeditation. I mean not only that I have no plan when I make them, I also have no plan to make them.

Acting to me is a very organic art form and you just go and do it. And I like to direct the same way that I like to be directed. Let me bring in what I want to bring in, and if something's wrong, just tell me about it and I'll make some corrections or adjustments. And that's what I do.

When you're in the studio, you've got a narrative for what goes on, you might switch on a bit of gear and it might not work as you intended or come out a bit wrong, and you try and exploit it.

I think good artists know when they're on a roll, and they recognize when lightning is striking. It's a very fortunate thing to have that inspiration and not to overanalyze it or mess with it; you just follow it if you love what you do.

By the mid-'60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

As an artist, you don't think about the parabola or the arc you're describing or where you're going to ultimately end up, you're just kind of crawling around, seeing what's out there.

I just throw it out and see what happens. If it sounds and feels right, then I continue.

Typically I go in the studio and whatever I'm contemplating that day will wind up being a song. I don't come in with lyrics... I just go in and let it happen.

I think there's always this idea in your head, but you have to allow the film to take its own course.

I've never sat down and tried to write something for some occasion. You just write the tune and stay totally wide open to everything. It'll find the person or persons who are supposed to do it.

I started doing radio pieces with no clear, preconceived idea, except that I have a tendency to be theatrical.

It was spontaneously composed as I was playing it. And then I added a couple of other overdub textures on top of it after the fact. But it's one of those things where I wouldn't be able to sit down and specifically write that. That's just what came out.

I write and draw from the gut. I often don't know what my stories are about until they're done.

I really like to experiment. That's the only way I can work. It's instinctive.

The artist discards all theories, both his own and those of others. He forgets everything when he is in front of his canvas.

Any talk of 'craft' makes me laugh. My music looks outward; it does not gaze upon itself in admiration. Artisanal is for cheesemakers. I don't know anything about music theory. Every time I approach my guitar, it's like the first time. There's no craft in that.

Music always turns into music. As soon as I play a key, push a key down, there's no theory any more. When I go and I hear a sound on the keyboard, all theories go out the window.

I see my practice as picture making. Whatever is available, I use.

I don't really write any of my raps down. The same, Kanye don't write any of his raps down. Common. It's easy that way. For me, personally, I figure I will lose some of the inspiration in the time of me writing it down, or I'll say it a certain way because I wrote it a certain way.

I don't think we'll ever use the same sound techniques.