Deadmau5

I don't think anyone's career is so big that they can't know where their major synchs are or where their publishing is going.

God bless Skrillex. I love the kid, but he puts out a new video, what, every four weeks? I'm like the Dos Equis guy. I don't normally do music videos, but when I do, I go big.

If I had a nickel for every time someone asked, 'When are you doing an album?' My career is way too transparent to do say, 'Guess what - I've got 16 tracks you've never heard!'

I was a bandwagon jumper. If everybody in high school listened to it, so did I.

I'm just a little artsy-fartsy computer dude.

Usually, companies, when they approach other people to do VR, they're like, 'We're gonna offer a virtual reality experience' - to me, that usually means they're gonna put a bunch of 360° cameras in a room, film something, and wrap the video in a sphere so you can head-track and look around. To me, that's not virtual reality. That's 360° video.

I do this sort of thing where, even for my own shows, I like to supply my own fingerprint of creativity. Not just ideas, technical things: offering model data, creating visuals for my stage show myself, babysitting renders, learning that technology as I go. That's what makes me feel like an artist.

Virtual reality, to me, seems to have a number of different tiers. Entry-level-tier VR is this experience: on a phone, some simple head-tracking, and some quick and dirty, game-engine-quality stuff.

I'm exploring this world of game development and GPU and getting involved in any capacity that I can to meet talented artists and programmers and developers. That's what you're gonna need to get a high-end experience done.

The way I see EDM right now, it's a healthy industry for sure - minimal work for maximum profit.

EDM is, like... Event-Driven Marketing, I think, is the acronym there. It reminds me a lot of disco. That had some hang-time, like, 10, 15, 17 years tops... Not too many people are forward-thinking about electronic music. They're just kinda like, 'Now, now, now - do it, do it.'

I am very strict on what products I want to associate myself with, and I felt that some things were just to make a buck.

When I'm working on something and need to take a little break, I'll go down and play some video games.

I've got $130 million in the bank and a whiteboard full of cool ideas for emerging markets and technologies where we're gonna test the waters and see what happens.

Nothing goes full-circle with music.

The industry has always had a problem with the 18-to-25 market, but EDM is perfect - a unique identifier for a group in that mental and fiscal state; in their youth, but free to do whatever they want. We filled that void.

I'm not a DJ. I play live and think we put on a show. That's it.

Creamfields is, without doubt, 1 of the highlights of year for me. I really can't wait to come back.

You have to have a certain amount of grit in your sound, and having real synths and talking certain elements outside your computer can help with this.

I was just trickling releases out slowly and building the Deadmau5 brand slowly. There was never this big marketing machine behind it or anything like that.

I'd like to think I wouldn't get booed off stage if I chose not to wear the head - I did gigs prior to having the head made and never had any problems. I'm aware though that, as a gimmick, it can create its own little monster as a brand.

I like to consider myself an all-rounder, and I'm not trying to be King of the Scene or anything. I'd like to do everything, from writing film scores to producing pop albums.

Everybody's all up on the EDM bandwagon now, because it's, like, another viable conduit for traditional pop music to ride for a bit so they can get out of their little stagnant pool and make a dance hit.

I have back-and-forth feelings about everything a lot - it's not limited to my albums.

The label does what's good for the label. Always.