Adrian Younge Quotes

It's fun for musicians to step into each other's world. It's like different football teams - it's the same game but a different play.

Brenda did some little vocal arrangements for us and she got to sing as well. So, we're happy to be able to work together and that's another reason why we look forward to doing more of these.

When you're a songwriter and you click with someone, you tend to want to keep writing with that person.

In many ways, a song-writing partnership is like a marriage. Apart from just liking each other, a lyricist and a composer should be able to spend long periods of time together - around the clock if need be - without getting on each other's nerves. Their goals, outlooks, and basic philosophies should be similar.

Working with the Kinks, there always seemed to be some kind of automatic process at work. Ray and I had this telepathy happening for a long time, where one of us always knew what the other could do with something.

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.

It is so killer to collaborate with someone who gets what you're trying to say.

I wouldn't say I worked with these people because I was looking for a particular vocal sound. I worked with them because I loved what they had done before-and because they really wanted to work with me.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

There is nothing deeper than to work for a year with the same artist.

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

As always in a musical collaboration: One has to like each other. As simple as that.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

I see my actors as my collaborators.

When you're doing collaborative music, the relationship that forms is a very bonding kind of experience.

To work with the same director is a great feeling.

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

If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.

When you think back in history about producers and artists or writers who've had good synergy, a lot of times they date, or they're married, or there's a friendship and a kinship.

I've written with people who aren't like me, then I've written with people who totally get it. It's like a blind date, and you never know what's going to happen. But it's really cool because they learn from you, and you learn a little bit from them. And sometimes it works out, and sometimes it doesn't.

There's a synergy with Dre and me.

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.

I've worked with Jonah Nolan on several projects. I really love collaborating with him.

It's part of the culture at ILM and at Lucasfilm that the work is better when you collaborate, you know. There's this culture of open exchange, a wonderful ego-free sharing of ideas and talent.

What's funny is that all the artists I've collaborated with, I get this feeling that they want me to win. They're always asking my opinion, always giving me advice.