Tony Bennett Quotes

I thought it was time to get a group together and the first person I thought of was Wayne Shorter. I called Wayne and in the meantime, Wayne called me to make an album with him, which was Super Nova.

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'd love to work with some of the people I've remixed for - Ed Sheeran or Chris Martin or The Weeknd. But it's not just big names like these guys that I want to collaborate with.

I'd like to produce something with Kanye. Like, my production plus his, I think he'd make something really cool.

I woud definitely want to collaborate with Indian musicians.

We're resolving our differences and we're looking forward to putting out a record next year.

I love Rob Zombie - I'd love to work with Rob Zombie or John Cameron Mitchell.

If the chemistry between me and the artist is good, then that's half the battle.

The wonderful thing about rock music is even if you hate the other person, sometimes you need him more, you know. In other words if he's the guy that made that sound, he's the guy that made that sound, and without that guy making that sound, you don't have a band, you know.

I would love to work with Tim Burton. I think we would be very good together.

My dream artists to collaborate with are probably Cee Lo Green and Imogen Heap. They're completely out of my genre but they're both musical geniuses.

I'm ready to do something with Lady Gaga or Andrea Bocelli. I'm really grateful that nothing is out of the realm of possibility.

Everything I do is collaborative. It's just my way. I'm really very interested in how the other musicians perceive the song.

In theory, I'd like to work in a group. But the group I'd like to work in, all the musicians in them are long since dead.

I've learned a lot from Dave Stewart; he's a serial collaborator. He's co-written songs with more people than anybody I know - like the most incredible people too.

Dudes I work with have to be like-minded to where I just hand them a beat that has a chorus and they can do with them what they gotta do. If they can't do that, I usually don't work with 'em.

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.

'Coming Over' was probably the fastest collaboration I've ever done.

I was attracted to Joe right away. He was and is one of the greatest cartoon artists I've ever met. I was able to do the timing, and Joe with his draftsmanship could make the storyboards. There were things I could do that he couldn't and vice versa.

I'm very much of the opinion that theatre is a collective art form, not just one person's vision.

In this artistic world, you might as well find a way to work with somebody that you have admiration for.

In some ways, it's more rewarding to hear someone interpret a piece of music that you're a part of.

When you're in a band, it's kind of a big thing to be friends as well.

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.

My favorite collaborator is Dane Laffrey, who designed the set for 'Once on This Island,' but we've worked together since high school, when he was my roommate.