Speaking of chameleons, you’re working with Madonna who is known for consistently reinventing herself. For you as a producer, is that a good thing because you’re able to do whatever you want or is it a challenge?
DIPLO: I think with her I didn’t know what to expect. I didn’t know if we were going to actually make records or not. It was kind of like I’d give her a week to see if the chemistry was there, but she was up for anything. I love when an artist gives a producer the confidence he needs to work with them, and Madonna was very, very open-minded to my ideas. I really love that. A lot of times I’m having to sell my projects and my ideas to them, but she was down from day one. We’ve written about seven songs now, and hopefully maybe four or five will make it to the album. I’ve done about three weeks with her, and we’re gonna do some more projects at the end of July. She’s just really cool. I think as far as artists reinventing themselves, she did it before anybody else. She kind of began that trend of actually coming back with a whole new look and style and sound and winning it and hitting the top of the charts. I don’t think anybody had done it to that level. She works hard. In the studio, I was Googling her while I was working with her, and she’s literally sold like 300 million copies of songs. She’s a force to be reckoned with. We had a lot of fun. Those records are gonna be crazy sounding. We really pushed the envelope with some of the stuff we were doing. The last night we were just having fun, and she was like, “Yo, give me some of the craziest shit you’ve got right now,” and we literally wrote a song that night on the craziest record I had. And it worked. All of the best songs happen on a whim. When I made Alex Clare’s “Too Close,” that record didn’t make the album, he got dropped, and it became a #1 record in America. It was like the biggest Rock record of 2012. We made that high on mushrooms, not even thinking about it making the record. With Usher, we made “Climax” in literally like ten minutes. With M.I.A., I made “Paper Planes” on a roof in the Caribbean. No microphone covers, just recording right there outside. Every time we do something you never can expect when the magical stuff’s gonna happen.