Rick Rubin

Combination of giving them away for free and selling enough to be able to make another one. That was always, any of the things I've made, it's always been about sustainability. As long as I can make another one, it's a success.

I still think in those terms that I want. I feel like I want to make it where it's sustainable by itself. There's something that feels good about that, that you make something that can live on not because of an endowment. Yeah, that's interesting. I don't know why. I don't know why that is.

I still think in those terms that I want. I feel like I want to make it where it's sustainable by itself. There's something that feels good about that, that you make something that can live on not because of an endowment. Yeah, that's interesting. I don't know why. I don't know why that is.

I would say thinking is the least part of it. It's much more about feeling and being true to themselves, whatever that is. Feeling their truths.

I would say thinking is the least part of it. It's much more about feeling and being true to themselves, whatever that is. Feeling their truths.

It's just a feeling. It's a feeling.

It's just a feeling. It's a feeling.

It starts with a feeling. The analysis comes in later to try to understand either the feeling, if there's a reason. Like if I'm just feeling something, I can experience it and be fine. If we have to act on the feeling, then it's like, okay, this feels like this. Is there a way to figure out why? Sometimes you can, sometimes you can't.

It starts with a feeling. The analysis comes in later to try to understand either the feeling, if there's a reason. Like if I'm just feeling something, I can experience it and be fine. If we have to act on the feeling, then it's like, okay, this feels like this. Is there a way to figure out why? Sometimes you can, sometimes you can't.

And if you can figure out why, or if you think you know why, then you can say, hmm, could it be this, this, or this? Let's try those things. See what happens.

And if you can figure out why, or if you think you know why, then you can say, hmm, could it be this, this, or this? Let's try those things. See what happens.

I'll say when we're starting a new project, I always have anxiety. Really? Always. Because I don't know what's going to happen. You know, there's a real question mark when we walk in to start. And I know that it could go a lot of different ways. And I don't have... I'm not interested in having a playbook in advance. I'm interested in seeing where it's going to go. And it's scary because...

I'll say when we're starting a new project, I always have anxiety. Really? Always. Because I don't know what's going to happen. You know, there's a real question mark when we walk in to start. And I know that it could go a lot of different ways. And I don't have... I'm not interested in having a playbook in advance. I'm interested in seeing where it's going to go. And it's scary because...

it could not go good. And sometimes some artists have an expectation that I'm going to do something. I can't do anything. It's either going to happen or it's not going to happen. But then usually within, sometimes it's the first day, sometimes it's the third day, sometimes it's the second week, where something happens like, whoa, what was that? How did that happen?

it could not go good. And sometimes some artists have an expectation that I'm going to do something. I can't do anything. It's either going to happen or it's not going to happen. But then usually within, sometimes it's the first day, sometimes it's the third day, sometimes it's the second week, where something happens like, whoa, what was that? How did that happen?

And then that might give us a clue. It's like, oh, this is what it wants to be. And that may change also. That may be the first inclination. It could start that way, and then it makes a left turn, turns into something completely different. The work itself tells us where it wants to go. So because we have, the reason it's so scary is because we have so little control over it. That's what's scary.

And then that might give us a clue. It's like, oh, this is what it wants to be. And that may change also. That may be the first inclination. It could start that way, and then it makes a left turn, turns into something completely different. The work itself tells us where it wants to go. So because we have, the reason it's so scary is because we have so little control over it. That's what's scary.

No, because I know it's not in the interest of the work. It's like we're all on the same page. Even the people we're ignoring, the record companies, the managers, the agents, the people who are yelling, I need this, I need this now. Ultimately, for everyone involved, if the artist makes the best possible work that they can, everybody wins.

No, because I know it's not in the interest of the work. It's like we're all on the same page. Even the people we're ignoring, the record companies, the managers, the agents, the people who are yelling, I need this, I need this now. Ultimately, for everyone involved, if the artist makes the best possible work that they can, everybody wins.

It's just that no one involved in the process understands what it takes for that thing to happen. I had a conversation with a basketball player, a member of the Golden State Warriors, who told me there's all this pressure now to do a lot of stuff on social media. He said, and it's getting in the way of our playing.