Shaggy Quotes

Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.

Videos have to go hand in hand with your music, so that's why, ultimately, they should be created by the artist. And if they're not, it doesn't really add up to me.

Bruce Willis. Pain in my ass, no problem about that. We just didn't get along. We got along off camera, but shooting we just didn't get along.

There are bound to be differences in any artistic collaboration with landscape elements, or theater, of lighting elements.

There was a time when country never used to do videos.

We're in conversations with brands worldwide for a variety of artists every day.

Musically, I wear many hats. I'm the social media director. I conceptualise the videos, write the songs, do the press. I'm not a major label act.

I didn't have any role models of artists that were in the same playing field as me - making expensive videos, travelling, marketing and promoting an album.

The video was of paramount importance, because 'Take on Me' was not an instant hit.

In 2011, I released my first album called 'International Villager.' I had no support, and whatever money I had made, I put it all in the album. I shot the music video for 'Brown Rang' with one lakh dollars. I spent so much money, as I just wanted to put it up on YouTube, as I knew that my market was there, and it became a huge hit.

You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.

Oh! this opponent, this collaborator against his will, whose notion of Beauty always differs from yours and whose means (strength, imagination, technique) are often too limited to help you effectively! What torment, to have your thinking and your phantasy tied down by another person!

I wasn't letting people in with the music writing process, and for a long time, I thought I was hard to work with.

When I was a kid, I was a really bad collaborator. I was pretty introverted.

To be successful to me meant to have a hit record in England. I never looked outside England.

I usually work in music videos, where we shoot, like, 10 to 12 setups and 60 shots or something.

Film budgets are huge. They can afford to promote each and every song in their album.

I tried to get Steven Seagal for my 'Stepfather Factory' video in 2002.

If 'Emotions in Motion' comes out right, I can write the book on the formula rock star.

I didn't start my label out of a business perspective. I did it because I wanted to create a platform where new musicians can have the chance to get into a studio, work with each other, and get their music noticed by a large audience.

I'm looking at EarDrummers like a boutique label, like an Interscope or a Def Jam.

I have a problem with writer/directors, personal. I can't work well with both of them on the set, if both of them are giving instructions. Writers tend to be in love with what they wrote. You can't always translate the words into the meaning, sometimes the meaning is better served without the words, difficult to make a writer to try to understand that. It gets, sometimes, tense.

Sometimes shows suffer from having many cooks in the kitchen.

You would be surprised how many directors don't know what they want. They might not know what they want until they see it, they might know what they want but no idea how to get it out of the actor, then you've both got a problem.

If you're making music, you must want to turn other people on to it, whether you're number one in the charts or number 60.