David Foster
David Foster
David Walter Foster, OC, OBC, is a Canadian musician, record producer, composer, songwriter, and arranger. He has been a producer for musicians including Alice Cooper, Christina Aguilera, Andrea Bocelli, Toni Braxton, Michael Bublé, Chicago, Natalie Cole, The Corrs, Céline Dion, Jackie Evancho, Kenny G, Josh Groban, Whitney Houston, Jennifer Lopez, Kenny Rogers, Seal, Rod Stewart, Donna Summer, Olivia Newton-John, Madonna, Barbra Streisand, and Westlife. Foster has won 16 Grammy Awards from 47 nominations. He is the chairman of Verve Records...
NationalityCanadian
ProfessionMusic Producer
Date of Birth1 November 1949
CityVictoria, Canada
CountryCanada
I think that most of my romance comes out in my music. And if you look at my track record of three ex-wives, maybe there's something to that.
When I produce a record, I roll up my sleeves; I'm not one of those passive guys. I really get in there and make sure every note is measured. I tell the bass player, 'You have to play it like this,' or I tell the drummer, 'It's got to be like this.'
I'm probably wouldn't do anything differently if I had to do it again. Every little thing that happens to you, good and bad, becomes a little piece of the puzzle of who you become. Every successful person you read about - Warren Buffett, Bill Gates - they all say pretty much the same thing. 'Do what you love.' I know I did.
I am uncompromising to the point of huge dissension in the studio. And it's served me very well. My theory and my philosophy is, 'Compromise breeds mediocrity.' Obviously, you have to pick your battles, and the more success an artist has, the more they want to be involved in their own career, which is not necessarily a good thing.
We all suffer alone in the real world; true empathy's impossible.
How totally banal of you to ask what I really mean.
An ad that pretends to be art is – at absolute best – like somebody who smiles warmly at you only because he wants something from you.
Fiction either moves mountains or it's boring; it moves mountains or it sits on its ass.
It seems like the big difference between good art and so-so art lies somewhere in the art's heart's purpose, the agenda of the consciousness behind the text. It's got something to do with love, with having the discipline to talk out of the part of yourself that can love instead of the part that just wants to be loved.
We are who people think we are.
I don’t really mean what I’m saying.
There's a certain kind of neurological makeup that goes along with being a writer, and having been in the room with a few other writers at the same time, it's rather wearing to be around. And it does - there is a kind of hypervigilance about it. Unfortunately it's got disadvantages. If you turn that hypervigilance on yourself and, for instance, whether or not you have a pimple on the end of your nose, it can get really depressing.
A lot of writers tired of doing kind of hip, slick, funny, dark, exploding hypocrisy, underlining once again the point that life is a farce and we're all in it for ourselves and that the point of life is to amass as much money/fame/sexual gratification, you know, whatever your personal thing is, and that everything else is just glitter or PR image - that we're tired of sort of doing that stuff over and over again.
The greatest sin is appearing naive or old-fashioned so that somebody can give you a sort of a very cool arch smile and devastate you with one extraordinarily crafted line that puts kind of a hole in your pretentious balloon.