From the moment Timbaland stepped onto the scene, he made it clear that he wasn’t just here to follow trends — he was here to create them. With an ear for music that feels borderline supernatural, Timbaland has carved out a lane so distinct, it’s hard to imagine the industry without his fingerprint on it. Whether crafting futuristic beats for Missy Elliott, reshaping pop with Justin Timberlake, or launching the careers of artists like Aaliyah, Ginuwine, and Nelly Furtado, he’s helped countless stars break new ground within their artistry. His sonic blueprint has shifted genres, launched movements, and put him on several Mount Rushmore lists as one of the greatest producers our world has ever had the privilege to experience.

Timbaland also brought that same genius to inspire the next generation as executive music producer of “BE@RBRICK,” an Apple TV+/DreamWorks series following Jasmine Finch and her bandmates as they fight to redefine their identities in a world where people are told exactly who they’re supposed to be. The show blends heart, rebellion, and rhythm as Jasmine and her crew challenge the status quo and chase their dreams on their own terms.

REVOLT’s Ty Cole sat down with the legendary producer for an insightful conversation where Timbaland opened up about his belief that he has dyslexia, what it would take to recreate the magic of The 20/20 Experience with Justin Timberlake, and why the next big star isn’t who — or what — you might expect.

Given your deep roots in music and storytelling, if you could see one iconic artist from your personal circle or past collaborations transformed into a “BE@RBRICK” animated hero, who would you choose, and what unique challenge or lesson would their character help kids navigate?

I think the person I would choose would be an angel version of Aaliyah. I would have the “BE@RBRICK” angel guide [them] to be stronger and motivate them.

As a legendary music producer who shaped an animated universe in “BE@RBRICK,” what's one musical lesson or hidden message you've deliberately embedded into the show's soundtrack to inspire kids and families, knowing it might become their first introduction to your sound?

You just answered my question. The first introduction to sound. What I always preach is that sound is so important to the world, and I think I have a sound, but have I really touched everything with my sound? Have I tried to navigate what my sound does? We speak about music, but people may say I can even get kids jumping — the cool part is making it universal. I feel like this taps into me being universal to music, because it's like when you look at Quincy Jones’ legacy, he was tapped into everything. Same thing with Frank Sinatra. He even changed music. Artists are created every day. You don't have to be a physical artist. It could be a digital artist. It's the music and the sound. I want to touch everything going forward.

You helped redefine Justin Timberlake's sound and legacy with The 20/20 Experience. Do you believe lightning can strike twice — can you replicate a journey of that magnitude with another artist today, and if so, who do you see having that kind of potential?

I feel like I can generate that today, but it won't be the same way. I feel like I'm always ahead and I'm always thinking differently. I feel like the next thing I want to create is a digital star. It's just as valuable as a human because of endorsements and video. Now, they're trying to get humans in Fortnite — you have to think about what is really going on in the world and what we really pay attention to. I'm going to start with the music — then you get a storyboard to say, “Okay, what is the character? How does she look?” In Japan, there’s a hologram artist that people go to see, so I'm thinking what’s the origin of this artist they have on stage? It's the band behind the hologram and them people going crazy. Why the music is so great is because of what they built with this character. It’s the story they built up to make people come there and pay their money to watch this hologram on stage. I come from the era where I grew up with “Fat Albert” and “Martin,” but if “Martin” was digital? We would like it because that's what we are conditioned to. I want to live in the digital space, and the real space out with artists is all the indies. I'm trying to help all the independents use my leverage, boost a song up. It’s a marathon, it’s not a sprint. Every independent artist comes to me. I don't know who's going to be a star. To me, we live in a world where you are a star in your own right. Everybody can build their own universe. I don’t know which artist is going to pop next — right now, all eyes are on Doechii. Then, there's people looking at this person over there. It's like everybody has their own universe today. It’s really now about which house do you want to go in longest or stay at?

You opened up on “The Pivot Podcast” about creating some of the best music under the influence. Looking back, do you feel like the music you made in that state captured a version of you that wouldn’t have existed sober? And if so, do you ever wonder which version of you was the most authentic musically?

I think God blesses us with a gift, but we can alter the gift by just indulging in things that maybe we know that our spirit says that we shouldn't do or just don't feel right. I listen to both sides. I see a little light dim on the ones that were drugged, but I still see where it still was dope, you get what I'm saying? It still was dope. Even on drugs, it still brought out the innocent boy. That child in me was fighting another alter ego, which was just the open world and the substance. Music got me through everything, through life, just all my pain, music got me through. This was just another painful chapter. I know that music still shines because that's what I pull on... it's God and music. I can hear, like, I would have done that differently if I was clear, you know what I'm saying? Not gonna lie though, Ty, the music is still jamming though, regardless (laughs).

You've collaborated with countless icons, but can you describe a moment when an unexpected disagreement in the studio actually led to an incredible musical breakthrough?

[Missy Elliott] and I have had more conversations than disagreements. It’s mostly her explaining who she is as a woman and how the music gotta sound. She gotta see it, she gotta feel it, she gotta be it. She sees the whole thing. I'm just seeing the beat and hearing her voice.

We all have hidden talents, hidden gems, or things that the world may be shocked to learn about us and our personal journeys. What’s maybe three or four things about yourself that you’ve never shared to the public before that could help fans connect with you even more?

I feel like I’m a bit dyslexic. The reason I say that is because looking at words and reading books, that don't stick, but I can when I get read to — then it sticks. Words look funny to me. It's just, like, I can see it before I even read it but my perception of what I'm seeing in my mind could be in the wrong space; the reading can be negative. So, I feel like that's a bit of dyslexia. I began to ask others who have dyslexia, and I recognize a few things that I do are signs of having it. So, society might say, “Oh,” [about me] going down this lane. [But] I always thought, “Okay, well, I don't know how to go that way.” I don't know how to do that, but I'm gonna get to where you are going. I would say my superpower is knowing that I have dyslexia when it comes to certain issues but always knowing how to navigate and be probably at a different genius level than [what people] think is normal going down that road. I know I don't think like you. I can't do that, but I could get to the end of that road. I ain't no failure and I ain't no quitter, and I gotta get to it. When you take off the costume, you start to relate and become human. I feel like that's when you really relate to your fans.