We created Apple Music to make finding the right music easier for everyone - men and women, young and old.

You go into any recording studio in the world, and you see candles, lights, and that Apple light from a Mac.

I'm not going to be the guy who sold the last CD.

Over four or five years, I did six albums with three people: John Lennon, Bruce Springsteen, and Patti Smith. I felt that if I could care as much about their music as they did, I could be useful to them. I really cared about their music and their lives.

You're only as good as your weakest link in the ecosystem of sound, of audio.

I love doing third albums. A group makes its first album, and then the record company rushes them into the studio to make their second album. After that, they go, 'Whoa, wait a second.' They get a little more confident. They step back and say, 'Okay, now we're gonna do it.'

If I were going to teach a course, it would be called Don't Breathe Your Own Exhaust.

I knew in my heart that I wasn't cool, but I figured I could at least be cool by association.

I wanted a label that reflects the times... a center for artists who want to express themselves. That's what makes Interscope unique. It's about freedom.

Apple Music is trying to create an entire pop culture experience that includes audio and video. If South Park walks into my office, I'm not going to say, 'You're not musicians.' We're going to do whatever hits pop culture smack on the nose.

Most technology companies are culturally inept. They're never going to get curation right.

People need service - great service where music is concerned.

When there's something I need to focus on, I'm like a dog with a bone.

All I've ever wanted to do is move the needle on popular culture.

I am blessed with the energy of a chimpanzee. There is nothing I can't get up for and give it a hundred percent.

When we did Beats, we had to begin again. Nobody at Best Buy knew who we were.

Life is a balance of fear and overcoming it.

I consider the recording studio where I was born.

Everyone's frightened. It's how you deal with that fear. It's very, very powerful. And what you've got to do is get it as a tailwind instead of a headwind. And that's a little bit of a judo trick in your mind. And once you learn that, fear starts to excite you. Because you know that you are going to enter into something and try it and risk.

You try to do the best with what you've got and ignore everything else. That's why horses get blinders in horse racing: You look at the horse next to you, and you lose a step.

Every artist and every song has an idea, and the producer's job is to capture it.

When I saw the scene in 'Close Encounters,' and Richard Dreyfuss's son is screaming at him - that's a heartbreaking scene. And I remember being devastated by 'E.T.' Or when E.T. started to get sick. That broke me up a little bit.

My characters are not thinking about the act breaks. They're thinking about what they need to do to move forward. As long as I focus on that, the story starts to progress. As soon as I think, 'We're 20 pages in, something better blow up,' we're in trouble.

Sometimes as writers, we try and put narrative development above character development. We try to move our characters around like chess pieces that do our bidding. The problem with that is sometimes the characters do things they shouldn't do. Things that are inorganic.