Laurieann Gibson Quotes

I come up with the ideas for my videos, and I write the lyrics and choreograph them, and I direct them and tell everyone what to do and how I want them to sing the parts and do the tongue pops and eye rolls and stuff like that.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

Ideas are really what interest me in producing a band, if I can bring something productive to the project.

I was in Barcelona working with Shakira, and it was an amazing experience. She's a great artist, and I learned a lot while working with her.

It's my goal to help actors achieve their best work, and I think I speak the same language as actors, so I understand how they do it, and I just love being able to create the playground in which they build their beautiful sandcastle.

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.

When I did 'Happy Birthday,' I wrote the treatment for the video before I wrote the record. And once I wrote the video, I had a clear understanding of what I wanted; I created the soundtrack to that video.

Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.

Making a video is one of the most exciting things for artists and fans. It's like a payoff.

Dance has always been my number one. I started when I was seven years old and I've had the opportunity to work with some really amazing artists.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

I actually build my dreams around the dancers I've got in my company.

I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

An album is a whole universe, and the recording studio is a three-dimensional kind of art space that I can fill with sound. Just as the album art and videos are ways of adding more dimensions to the words and music. I like to be involved in all of it because it's all of a piece.

I like messing around, and I like working with artists who I respect.

You need to know what makes artists tick. Having been through the process myself as a musician, since I was an early teen, gave me an advantage - understanding them from their point of view, because it's about them, it's not about you - it's their vision and what they're capable of achieving, and you're the conduit.

It's tough as an artist to have such a specific vision for your video in mind when you write a song. Reaching out to directors is like going on blind dates and trying to find someone who sees the exact vision behind your music, which can be really difficult.

I've choreographed all of my movies.

Idol has pretty much taken me out of my recording and out of my choreography. I have managed to slip in some choreography jobs. And I've been writing songs for other artists.

As an actor you have to bring to the table your creative input. But when a director like Ridley Scott says I want you to do this this way, you know when he gets to the editing room he has a reason for it. It's like watching a masterpiece.

With Lady Gaga I really stretched myself as a creative director, and because I was with this artist from before she got signed I was able to really take control of the opportunity and execute as a creative director.

I wouldn't do the music thing if it weren't for my brother, who's a producer. He understands me and helps my vision come to life.

There are certainly some artists in New York that I would love to work with. One is Sarah Michelson.

What's great about making movies is the sort of additive process of bringing people together and having an idea and watching the idea be added to and at the end you have this thing.