Anoushka Shankar Quotes

I was rather disappointed, because the one thing I wanted to gain from that opportunity was to add something to his music, and have him add something to mine.

I actually like the collaboration of working with different artists.

I'm a real genre jumper, but all good music belongs to the same family. I love Dave Sitek, a producer I've been working with a lot since I moved to L.A. He will change the game.

People looked at me - people still look at me - as 'this is Gucci Mane's producer.' But the music that me and Future put together was so different than what me and Gucci do, it just made people look at the music like, 'Hold on - Zaytoven is the real deal.'

When I listen to music, there's usually some aspect of that music that I like, and that's what I take and try to bring into my own music. Bringing in other musicians to collaborate with is a good way for me to test out new ways or make music that I might have not discovered on my own.

I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you'd come up with something exponentially better.

Whenever I work with different artists, I expand as a song writer, as a producer, and I always want to try and find the bridge between my world and their world.

You know, songs often have a very coloured past. They might have something about them but it still doesn't work, so someone else adds a bit, and someone else adds a bit so perhaps one day I'll know its full history.

I hadn't been a recording artist all that long when albums came on the scene, and I was one of the first singers to point the way to how varied an album's contents could be.

World music is about taking things from different places and bringing them together - which is great.

The transactions between me and the people that I photograph are very, very collaborative.

Anything I do with Team Sleep, I'd do with Deftones as well.

I think my music has always been a mixture, depending on whom I'm working with - what band, what musicians, what producer.

I think that there's always great music being made. Always has been, always will be.

I see my actors as my collaborators.

Actors and directors work on things together. That's how I like to work, anyway. I don't want to be told what to do. I want to share it with someone and work it out together.

My collaborations tend to be pretty organic. It starts off with me being a fan first.

When Sonic Youth writes music, we write everything in a very communal way. It doesn't matter who brought something in initially; it all gets transformed by the band.

I'm influenced by a lot of different genres of music. So I'm constantly trying to rework production and make things interesting in the live show and on records.

In an ideal world, as a director, you usually wish you could do your own thing and not have to take anyone else's point of view into account, but occasionally you work with someone like Robyn, who brings a new set of ideas to the table, and the whole ends up much greater than the sum of the parts.

We've always said Psychic TV's music is the sum total of who's in it at the time.

There's an attitude that I have where I bring the art to the table and the writer brings the writing to the table, but neither of us brings the story to the table. The story is something that only happens with the combination of both of us.

I feel like there is a different, new energy when I collaborate with a living artist, whether it be a composer, designer, lighting designer. I love that process.

In the 1990s music was a beautiful collaborative process between the composer, lyricist and director. They would exchange ideas and magic used to happen.

It's whatever - people like me and Dre are music people, so we're beyond just hip-hop. We're purists. Not everybody who makes beats is a purist.