In the summer of 2002, we had spent six weeks shooting the three pilots of Mythbusters, and Jamie[Hyneman] called me up afterward - well, first he called me up to tell me to clear my crap back out of his shop - and he said, "Well, that was kind of fun, wasn't it? I mean, I don't see where this could go, because we pretty much did everything. But it was fun."
Memory is just as much of an instrument as anything else in music, so I wanted to create soundscapes that are evocative of places that only exist in your head - that's where the fun, psychedelic stuff happens anyway.
Hip-hop has crossed many boundaries and racial barriers, broken them down for people to come together, to listen to the music or come out of their own social ills in each of the countries that it has went to. Thanks to my traveling, and keeping up from place to place, and pushing our ideology - peace, love, unity, and having fun - it has worked.
The perils, rewards, punishments, and fulfillments of an adventure must be real, or the adventure is only a shifting and heartless nightmare. If I bet I must be made to pay, or there is no poetry in betting. If I challenge I must be made to fight, or there is no poetry in challenging. If I vow to be faithful I must be cursed when I am unfaithful, or there is no fun vowing.
Youth is like having a big plate of candy. Sentimentalists think they want to be in the pure, simple state they were in before they ate the candy. They don't. They just want the fun of eating it all over again.
One of the hardest things for me to do is be fully open in a poem. By that I mean, honest and not trying to amplify some mythological version of myself. I was a poor, geeky black kid in Indianapolis. There is nothing mythological about that. So to try to truly render the kind of economic and racial inequity I grew up in, I had to find a way to be more honest about what happened. And it wasn't fun to write, even though the poems aren't 100% autobiographical.
I have done my fiddling so long under Vesuvius that I have almost forgotten to play, and can only wait for the eruption and think it long of coming. Literally no man has more wholly outlived life than I. And still it's good fun.
It fit pretty nicely into my schedule because we'd pretty much finished the bulk of promotion for Mandatory Fun and were just getting geared up for the World Tour so this was a nice time for me to be working on it.
I mean you know at midnight everything is going to turn to pumpkins and mice; right? But if the evening goes along, I mean, you know, the guys look better all the time, the music sounds better, it's more and more fun, you think why the hell should I leave at quarter of 12. I'll leave at two minutes to 12. But the trouble is, there are no clocks on the wall. And everybody thinks they're going to leave at two minutes to 12.
It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.
For an actor, for me, I love being able to tap into just heavy emotions. I don't need to be balling in every scene, but I just love to feel different emotions when heading to set. It's a lot of fun to play with.