Fra interview med David Byrne i Rolling Stone (og hvornår, hvordan kan man se hans Spike Lee-instruerede koncertfilm? helt ærligt!)
The lyrics to one of your Talking Heads songs, “I Zimbra,” borrow from a nonsense poem by Dadaist poet Hugo Ball. How do you know when it’s time to stop making sense?
Never. My daughter has a young child, and I’m proud that I’ve shown him how to work a salad spinner with his head.
It was Brian Eno who suggested you adapt a Dada poem, leading
you to write “I Zimbra.” What are the biggest lessons you’ve learned
from working with him over the years?
We tended to work in a different way each time we worked together. There was the stuff we did with Talking Heads, that’s one thing, but when we worked together on this My Life in the Bush of Ghosts record, it was like a round robin, where one person makes a move, and then the other person makes a move that reacts to that one, and you go back and forth like that until you’ve built some kind of edifice based on all your little reactions to things you’ve done. With some of the other projects, there would be much more division of labor. With one album, Everything That Happens Will Happen Today, he had done all this music that he didn’t know what to do with, so I just said, “I’m not going to touch the music, but I’ll write words and melodies over top of it, but I won’t do any music myself.” By making that kind of tacit agreement, and saying, “I’m not going to mess with your stuff, but I’m going to just add on top of it,” that worked out really well. We discovered different ways of collaborating each time.