QUOTES by Flying Lotus
Find most favourite and famour Authors from A.A Milne to Zoe Kravitz.
Whenever it gets a little cold in L.A., it gives me an excuse to light my fireplace. You could stare at that joint for, like, a cool two hours. It's entrancing.
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I like when my mind is being stimulated and challenged, and I'm forced to be creative.
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I remember Usher came up to me at Coachella once, and it's like, 'Are you sure you're talking to the right person? How do you even know what I look like? You're not supposed to know who I am.'
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When I can make music and don't have to think about anyone else's ideas or voice - when I'm making something that only I can make - it feels good. It's nice when you can find a sound that only you can make. No one else can make 'Cosmogramma.' No one else can make 'Until the Quiet Comes.'
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For me, being 10 years old and seeing 'Jurassic Park' for the first time blew my mind. I want music to feel like that.
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Truth be told, I think jazz is a mind-set. It's not necessarily, like, this guy picked up a horn and did this or whatever.
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I had a little Walkman, the worst Walkman ever. It was the yellow one, that underwater Walkman. Like you need to take a Walkman under water.
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The first beat that I ever made that I thought was actually worth a damn was called 'Toilet Paper Nostrils,' and I made it when I had a cold. I had the worst cold ever. And I had toilet-paper nostrils making music, but it was really reflective of how I felt. It was a really sad trumpet sound.
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I decided to play the saxophone because it was the most obvious instrument in my family. There were a lot of saxophone players in my family, and there were extra saxophones, so that was an easy one to pick up. It was fun - it was okay - it just wasn't me. It didn't feel like my instrument, so I never followed through.
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I need to help people to create the best work that they can. It's just something a producer should do anyway.
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Whenever I am making stuff, I got a thing in the back of my mind: 'Oh, this would be so perfect for' whoever.
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My collaborations tend to be pretty organic. It starts off with me being a fan first.
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I was 10 years old when the Northridge quake happened, and I lived right in the area, so it was a traumatic thing for me. I'd never had anything like that happen before. It's always stuck with me.
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I can't let darkness be what guides my decisions. I can't let that be what guides how I treat people. I can't let that be what drives my art, either.
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I'm always seeing stuff and imagining scenes in my head when I'm making music.
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I'm the kind of person who needs to be challenged all the time. I need my brain to go, or else I just end up playing video games all day, you know? That's cool too, I guess, at times.
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I feel like my music has a reputation for being pretty serious or whatnot, but I like having fun.
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I just understand that I'm supposed to be one of those people that disrupts the flavor a little bit instead of being part of the same sound as everyone else.
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Death is a reality, and one day I'm not going to be here anymore, and whatever's next might not be that bad either.
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I love Snoop - I grew up with his music - but I never thought for a second that we'd work together.
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Part of what I like to do with Brainfeeder is to get the younger kids hearing jazz, because they don't know where to go to really hear it. Brainfeeder gives me a platform to put out people like Kamasi Washington or Austin Peralta.
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It's the old-school jazz mentality that I connect with the most. I dig the idea of the seeker, the guy who's always trying to figure out why he is doing music and trying to understand and make sense of his instrument in a world which deals with rigid instruction.
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I'm not much of a coffee person, but when I wake up and the sun is shining through the window, I'll get a lil' bit of green tea and get to work.
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Before saying, 'This track is so dope; it's gonna go on the album,' I like to take some time away from it and see how I feel about it in a few months. If it's gonna get released, I gotta love it - it's gonna have my name on it forever.
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A strong concept is the most important thing in creating a record. When you can listen to it and see a whole movie in your head, that's what separates an instrumental album from a beat tape.
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When I made '1983,' there were a bunch of tracks that were in the early drafts that didn't make it because they just sounded like tracks for rappers, and that's not really the sound I look for when I produce my own albums.
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I first was introduced to really, I guess, underground electronic music when I was in middle school.
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I was first inspired to make music by my cousin Oran. He was making music on an old Mac II by himself in his little lab, and I just started taking up after him. He was the first person to put a machine in front of me to work on. He was like my big brother, someone who I looked up to.
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I don't sit around listening to beats all day. There's so many producers, and so much of it is derivative.
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The Soft Machine's 'Volume Two' inspired me heavily. That record just feels like it was all done in the same breath. It's genius, and it's silly at times. But I love the fact that every time I listen to it, I listen from the beginning and want to play it out.
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I found so many reasons to call it 'You're Dead!' - not just because I wanted to make this album about the journey through death. I was watching the music scene that I came up with kind of go stale and watching the lights go out on a lot of my friends.
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I never leave L.A. for too long. I'm not one of those that go on a tour of the whole world. I probably should be, but I'm not.
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I feel like part of my journey as a filmmaker is to tell different stories, whether they are just a black perspective on things that aren't necessarily hood movies, or Tyler Perry movies or Ava DuVernay movies. Love all those people, but that whole thing has been sowed up already.
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