Jazz is an octopus. It will take whatever it can use and it will work with it.
When I got out of the Nazz, I had it in my mind that simply to be eclectic was an important aspect of making music. It was something that I derived from The Beatles.
I was never a monist - always a diversitarian.
If I've done anything intentional about my career, is that I really have not - I've chosen to try to do as many different types of things as possible. That's really what I like to do.
Artwise, I'm kind of a chameleon. I don't have an established style or anything like that.
I do a little bit of everything.
I work pretty fluidly across all genres.
The good news is that, at least in economics, I've seen movement away from its overemphasis on mathematical models of purely rational behavior to a more eclectic and commonsense approach: research that is, among other things, more respectful of insights from psychology.
I could never be a member of a single party. I want the best of all worlds, thank you.
Everything I do, I do on the principle of Russian borscht. You can throw everything into it beets, carrots, cabbage, onions, everything you want. What's important is the result, the taste of the borscht.
I think that's more a reflection of the fact I've never been a student of any particular school of writing, or even listening.
I try to be very current. I try to take something from everywhere I've been. I've wrestled in Japan, Singapore, China, Germany, and England. I try to bring a mix of different styles to the table.
Style is something you can use, and you can be like a magpie, just taking what you want. The idea of the rigid style seemed to me then something you needn't concern yourself with, it would trap you.
I don't want any of my records to sound like one style throughout. That's why I choose different grooves and songs: tunes that are sensitive and slow as well as pieces that are abstract and fast. The approach I want to take with my records is to give the listener a variety of grooves, concepts, and composers.
I spent lots of time reading the encyclopedia and really kind of an eclectic approach to learning things - not very structured.
I don't ever want to stick myself in one category. I do really love making movies, but the thing about live performances is you don't have to wait around. Literally, we're still waiting to see what the reaction is to the film, so it's a slower process. But it is enjoyable.
I don't ascribe to any particular style or period.
I'm all over the place. As you may have seen from the credits, I write with everybody.
I’ve always been uninterested in boundaries or quarantines between tastes and types, between mediums and genres.
I'd take bits and pieces from a fighter, if I liked what they did, and I'd put it in my arsenal. I never wanted to fight like or be like any other fighter. I wanted a style that was unique for me.
I never work with one inspiration in mind. I like to take things from everywhere and piece it together. It's never a theme or a trick.
Jeremy Scott reminds me of Harmony Korine, mixing all worlds and making them into one - you just never know what he's up to.
Having done, you know, science fiction, I didn't want to get trapped in science fiction. So my eclecticism was my only conscious choice. I didn't want to find myself in a niche that I couldn't get out of.
