Danger Mouse

I'd hate to have to leave music, but if I got stuck some place, I would.

I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves. Then you can edit or mess around with what they've come up with. But you have to allow the artist that space.

Some people have been listening to the Beatles their whole lives; I didn't discover them until I was 18 years old.

When you're younger, you have ideas and visions of what you're going to be like when you're older and what love is going to be like and who you're gonna be married to and all of these different things.

Daft Punk wouldn't have normally fit into anything that was pop on the radio, but they just did it.

Basically, the way I do it is I get to work with a bunch of people; get a bunch of great people together, and you'll be able to get something cool on the other side.

I always thought 'Rome' would change things for me, that people would finally understand what I do.

When I don't have a good time making music, I think of quitting a lot. I really do. I can create something else. I'll do something else.

I have ideas all of the time from the beginning, but they never really wind up turning out like I thought they would.

I'm not really a knob-twiddler. I always work with an engineer; I'm not super hands-on when it comes to mixing boards and computers. I'm much more about what I'm hearing and what it needs to be like. I deal with songs and ideas and instruments.

I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.