Roger Taylor Quotes

The relationship between the models and the musical performers is very important.

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

I think that any actor - any artist, period - would love to work with an artist like Lee Daniels.

Personally, I've found one of the more stimulating ways of playing in recent times has been to kind of move outside the free improvised area and work with people who are probably improvisers but they have a particular way of working.

Whether it be through television, or through music, or through dance, or through film, whatever it is, as long as it's the right project that makes sense, then I'm all for it.

Producing is a world of compromise and actors are utterly spoiled all the time.

To me, music shouldn't be ego-driven. When you go out on stage and play songs, it is. But when you're sitting in a room, writing songs, it's a completely different process. It's a completely different place. It's a creative place, a musical place. It has nothing to do with who likes what.

It has been a pleasure to play with all these artists. Pretenders was a real highlight, but also Damon, aka Badly Drawn Boy, Sinead... Ian Brown... all of these people I learn from and love to work with.

I do love to sing. Had I a longer set of thigh bones and a sweeter voice, I should have loved to be a performer.

I've been singing with Roomful of Teeth since the beginning in 2009, and it's a really mind-blowingly wonderful vocal ensemble. Very brave and very creative, and they're some of my closest friends.

Whether you are a writer or an actor or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.

I will admit, it's so intoxicating working with Steve Carrell. Creatively and professionally.

We all write the music, and then Mark and Tom write the lyrics.

What goes on between the actor and director is sacred.

For the most part, I really love being in a collaborative thing. And in a collaborative thing if you have a singer as good as Sean Smith or Eddie Vedder, you kind of think, well, why don't you just go ahead and let them sing? People seem to really like it.

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

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've just got into the convention circuit in the last couple of years and it's great to see all these people who are still interested in the show. It's so gratifying to hear that so many people enjoyed the work that Erin and I have done.

When I was working on 'To Pimp A Butterfly' and 'DAMN.,' I'm really making music for Kendrick. It's a different mindset than when I'm making music for me. I'm trying to get into his head and figure out what he wants because it's his vision. That's what I expect from people when they're playing on my records.

I want to play guitar, piano, drums, write songs for other people. I can do punk - I can do indie - but as long as it has my voice, it'll always be my sound.

For the last 10 years, I've been working with Donald Glover and Ryan Coogler, and we've put down so much time really trying to make the best that we can, whether it's a movie, a film score, or a song.

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

When I go in the studio with Post, I have a really good idea of what he's going to gravitate to, what we can work with.

I grew up in musicals actually, and the last show I did in Dublin, 'Alice in Funderland', was a musical, and one that was written around my voice, which was nice.

A band can be so much more than just a way to play songs.