We’re making the music that the people are asking us for.

You’ve got to keep your finger on the pulse of what your audience is thinking, and know what they’ll accept from you.

When I make a film – I direct my own film, I write my own script – that’s what I want to hear from the audience. ‚Oh, thank you, Jackie!‘

I work with my brother Finneas, and he produces all of my music in his little bedroom in our house. We actually tried renting out a studio for a month when we were producing ‚Don’t Smile at Me,‘ but it was really hard there, and we ended up just doing it at home anyway.

I enjoy working with complicated equipment. A lot of my things started just with a rhythm box, but I feed it through so many things that what comes out sounds very complex and rich.

Some people record onto tape, and then they pay for the tape, and download those onto a hard drive. Initially in a Pro Tools program. Other people go straight into digital, and use no tape at all.

It’s easy to make an album full of great songs. But I want people to go for the ride. The songs have to make sense together.

I tend to overthink things. I’m not the guy who screams ‚This is a world smash!‘ when I finish a song.

I think, generally, I just cannot really envision life without writing and producing records and singing.

When I was making the early stuff, I never expected it to be so big. I was in my own kind of bubble. I never wanted to tour; I just wanted to create music and make a diary I could put out into the world. And sometimes, I became the characters.

Music will never go away, and I will never stop making music; it’s just what capacity or what arena you decide to do it.

When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.

A producer gets the whole vision done from top to bottom, to making the record to having the record delivered to the world. That’s a producer.

Usually I start with a beat, I start making a beat, and my producer side is making the beat. And on a good day, my rapper side will jump in and start the writing process – maybe come up with a hook or start a verse. Sometimes it just happens like that. A song like ‚Lights Please‘ happens like that.

People are so into digital recording now they forgot how easy analog recording can be.

I used to write random little stupid things when I was five, but then the first song I really wrote was one called ‚Fingers Crossed,‘ which is on SoundCloud.

It’s a weird thing when you make records. You try to hear it before you make it, so you walk into the studio with this idea of what you expect to happen, and that usually changes. That usually turns into something else, and that’s a good thing.

Nearly all the synth work on Heathen is mine and some of the piano.

I knew the second I finished the first record – ‚House Of Balloons‘ – and had all this material leftover that a trilogy would be best.

Tony Visconti and I had been wanting to work together again for a few years now. Both of us had fairly large commitments and for a long time we couldn’t see a space in which we could get anything together.

What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.

Since I was old enough to understand what a songwriter/producer is, I’ve had a curiosity about how Max Martin creates what he creates. I wanted to see that happen. I wanted to be there. I wanted to learn from him.

If I had a stock of fabulous sounds I would just always use them. I wouldn’t bother to find new ones.

I put out tapes, but I always kept saying, ‚Why am I putting all this energy into these tapes?‘ I was like, ‚I’d rather make just an album because I have a vision; I know how I want to do my records.‘ I always felt like an artist as well.

I spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I’m such a visual artist as well that it always goes hand-in-hand.

When I started working on ambient music, my idea was to make music that was more like painting.

I make a lot of pieces of music that I never release as CDs.

All of my records, I produced, put together completely. All of them. Maybe Drake might come with an idea, and I might finish it. You gotta remember what a producer is. Quincy Jones is a producer.

My brother had written ‚Ocean Eyes,‘ and we recorded it, basing all of the production around contemporary and lyrical dance. I think of most songs that way – if you can’t dance to a song, it’s not a song.

When I’m making music, I can hear all the parts, all the instruments. I can hear what it should be.

There’s more good music being made now than ever before.

The making of music is profoundly affected by the market.

I put together amazing records, whether that’s finding the beat or putting the right hook on there, and picking the right artists on the record. That’s me being an A&R. And I’m making sure that they give me their best.

When I started making my own records, I had this idea of drowning out the singer and putting the rest in the foreground. It was the background that interested me.

My songs always sound a lot better in person than they do on the record.

I could care less about the particular. I like to make music.

If I could, I would not do anything else. I’d just be in the studio for my whole life. I would never go to parties, events, and red carpets. I would rather just be in the studio for the whole time. I don’t even care. Nobody has to know what I look like. I just want to make music.

I made the track ‚Si Tu Novio Te Deja Sola‘ before I met Balvin.

Yeah, anybody can go in with two turntables and a microphone or a home studio sampler and a little cassette deck or whatever and make records in their bedrooms.

I grew up writing songs in my room on GarageBand, and I would make the beats just out of layering my vocals over and over again. Very Imogen Heap-inspired.

I like the idea of a kind of eternal music, but I didn’t want it to be eternally repetitive, either. I wanted it to be eternally changing. So I developed two ideas in that way. ‚Discreet Music‘ was like that, and ‚Music for Airports.‘ What you hear on the recordings is a little part of one of those processes working itself out.

I made that first record in 2008, alongside the EP, but my label at the time waited three years to release it. They thought maybe someone bigger would buy it, but they didn’t, so in the end they just released it themselves.

Technology has allowed people to make records really cheap. You can make a record on a laptop.

I want to produce the music to a movie that I’m working on, like what Prince did with ‚Purple Rain.‘

All I do is make music.

My movies just kind of sneak up on you. I don’t have to worry too much about what everybody is going to say. Anyway, I really don’t pay attention to what the world says about my movies. I just care about what my buddies think.

When my record comes on, you know that’s a DJ Khaled record. That’s my formula, and the people love it.

Looking back on the production of ‚Nevermind,‘ I’m embarrassed by it now. It’s closer to a Motley Crue record than it is a punk rock record.

Probably the reason it’s a little hard to break away from the album format completely is, if you’re getting a band together in the studio, it makes financial sense to do more than one song at a time. And it makes more sense, if you’re going to all the effort of performing and doing whatever else, if there’s a kind of bundle.

I would get out of school and go straight to my computer to create beats.

Writing ‚We Are Never Getting Back Together‘ was one of the most hilarious experiences I have ever had in the studio because it just happened so naturally.

I’ve got nothing against records – I’ve spent my life making them – but they are a kind of historical blip.

I try to devote my afternoons to making music in my home studio, but it’s a lot more fun hanging out with musicians and friends, and trying subtly to influence a band than making your own stuff.

A way to make new music is to imagine looking back at the past from a future and imagine music that could have existed but didn’t. Like East African free jazz, which as far as I know does not exist.

By the mid-’60s, recorded music was much more like painting than it was like traditional music. When you went into the studio, you could put a sound down, then you could squeeze it around, spread it all around the canvas.

I feel it’s my job to continue being a student of music if I want to continue being an artist and a producer of other artists. You have to keep filling your mind with other music. You have to be ahead of the curve.

I usually write lyrics first, and then when I get home or close to any kind of instrument, I usually make a melody for those lyrics.

Most of the time, songs that I write end up being finished in 30 minutes or less.

Usually, when you go in to make a record, you have 30 songs, and you record 30 of them, and 12 of them make it to the record.

One of my most popular songs, ‚Satellites,‘ I paid $300 for that beat on SoundClick.

Literally wrote ‚Starboy‘ in 30 minutes.