GRANTLAND: At one point there was talk of you working with Kanye?
MADLIB: I don’t know what happened. Maybe he didn’t wanna pay my fee, or maybe he didn’t wanna go in that direction. Probably the money thing, he wanted to put his name on my— I actually don’t wanna talk about that. A lot of people record over my music and it don’t come out.
“If you are doing a play or a film, you have to have a secret way in if you are directing it. Sometimes it’s big things. American Beauty, for me, was about my adolescence. Road to Perdition was about my childhood. Skyfall was about middle-age and mortality. Sometimes it’s small things.”—Sam Mendes, who did not mention Revolutionary Road.
“I understand a lot of people were negative or mixed about it, but I love it. This picture, you need to digest it, you see it and you have the emotion that’s taken from being in the movie theater, then when you finish, you go, ‘What did I see? What is the problem? Why?’ But then you begin to digest the picture, and then it becomes a piece of art. [Nicolas Winding Refn] is passionate at what he does.”—Alejandro Jodorowsky on Only God Forgives
Waterhouse’s first album, Time’s All Gone, was Sun Studios nostalgia porn that not many people heard, released small, though with polish. Then some carcompanies found it and used it to sell their products. Smart. My Mom heard one song in a commercial and now she’s a big fan. That’s a secretly strong demo: iTunes-fluent moms. I like this new one less, but it’s still got that Ahmet Ertegun recorded-live production style. Those drums are mic-ed close.
“[My new novel is] called “The Laughing Monsters,” and it’s due out from Farrar, Straus & Giroux next fall, if somebody would only finish writing it. It’s set in Sierra Leone, Congo, and Uganda. I believe it falls into the category of “literary thriller.”—Denis Johnson