I'd love to work with Drake. I got Drake beats.

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.

I feel like my music has a reputation for being pretty serious or whatnot, but I like having fun.

I like comedy.

I'm a silly guy.

I've been working with Thundercat forever.

My music divides people!

Childish Gambino - him and I are the same age, and I really like him.

I like boring. Boring is cool.

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.

I'm always seeing stuff and imagining scenes in my head when I'm making music.

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.

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.

I love 'Pop Team Epic,' which is really trippy.

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

Whenever I am making stuff, I got a thing in the back of my mind: 'Oh, this would be so perfect for' whoever.

I need to help people to create the best work that they can. It's just something a producer should do anyway.

I've always been a techie kind of person.

I built computers and stuff when I was a teenager and whatever.

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.

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.

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.

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.

For me, being 10 years old and seeing 'Jurassic Park' for the first time blew my mind. I want music to feel like that.

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.'

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.'

I work a lot.

I like when my mind is being stimulated and challenged, and I'm forced to be creative.

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.

Stereotypes do exist, but we have to walk through them.

I think 'The Color of Money' was very instrumental in opening up other opportunities. People started to recognize me as an artist after that film. And then, after I did 'Bird,' it was more solidified.

I love to play chess. The last time I was playing, I started to really see the board. I don't mean just seeing a few moves ahead - something else. My game started getting better. It's the patterns. The patterns are universal.

As human beings, we all have reasons for our behavior. There may be people who have certain physiological issues that dictate why they make certain choices. On the whole, though, I think we're dictated by our structure, our past, our environment, our culture. So once you understand the patterns that shape a person, how can you not find sympathy?

When I was a kid, the only way I saw movies was from the back seat of my family's car at the drive-in.

Cinema and the arts invite viewers to focus on a story and, in doing so, peel away its layers and peer into the depths of the human soul.

Until film is just as easily accessible as a pen or pencil, then it's not completely an art form. In painting, you can just pick up a piece of chalk, a stick, or whatever. In sculpture, you can get a rock. Writing, you just need a pencil and paper. Film has been a very elitist medium. It costs so much money.

I've been trying to understand conflict and violence ever since I was a kid. You know. There were a few things that happened even on my block - the Black Panthers used to be right around the corner from where we were.

When children and youth are deprived of their right to education, their community is deprived of a sustainable future. It is all the more true with refugees.

For many child soldiers, war and violence are all they have ever known. If we don't take it upon ourselves to show them an alternative, then they're going to be soldiers forever, and they'll continue to be recruited and to participate in violence if another conflict starts five or 10 years down the road.

I was asked if I would play President Obama in 'My Name is Khan.' I didn't feel comfortable with doing it. Partly because he was still in office, but mainly because I felt that there were other people who were better suited to doing the role.

When we talk about the issue of child soldiers, it can be easy to focus just on ending recruitment and liberating those boys and girls who are currently being held in military camps. Obviously, both of these are incredibly important goals, but it's also essential that we not forget about former child soldiers once they are liberated.

The Internet is part of our evolution. The mystics used to say, 'We can travel across the planet in a thought.' Now we really can. We can be connected with a million people at a time.

It's important for youth, black youths particularly, to be able to fill in the blanks of themselves so they can know completely who they are, but also all the country to understand what this means: what the civil rights movement does to us as people. It is part of the journey that we must be on in order to become fully evolved human beings.

It's a contract of connection to be in the same space and watch and listen to stories and be caught in them. When you're in a theater, your brain expands because somebody in the theater may do something or respond to something that you wouldn't have.

You try to pull away the experiences until you get to the core of humanity, and you find that light that exists in everybody. It's that light that I'm searching for in all of my work - is that connective thing, that ether that enters all of us - you know what I mean? That's a part of God.

It's all about destiny. That's why people look at the zodiac or the I Ching - because there's a certain order to life, and that order has been lived since the beginning of time. No matter what you do, you're going to live inside of it.

While it's easy for South Sudan to feel distant, the situation is all too real for the South Sudanese mothers choosing which child gets to eat tomorrow. This is a time when we must look outward together and declare that humanity has no borders - no one deserves to suffer like this, especially in a world of such abundance.

There's a molecule inside of you that is connected to everything - every person, every energy, every thing. You look for it, and when you find it, then you allow it to magnify and grow and be the dominating chemistry inside of you.

The characters I've portrayed may outwardly be quite different from one another, but I've found that they're also intrinsically linked.

College football, acting, opera singing - I approached them all in the same obsessive way.