Gavin Bryars Quotes

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

Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.

I have been asked to collaborate with fashion houses using my artwork, which I will probably do.

The ability and desire to transform the mundane materials at hand that we both bring into the collaboration well beyond the sum total of the parts - to birth a new baby neither of us could claim single parentage of.

Some of the best art in the world is collaborative, a mix of voices that are stronger together than separate. Take the Beatles, for example. Or every great movie ever made. We like to say they're the director's vision, but really, they're huge collaborations between directors, writers, actors, even producers.

When I work with artists, I give them a general guideline of what my vision is. Then they're going to speak their minds on how they view it, too. The song that defines 'Neon Future' the best is the title track. I wrote that with Luke Steele of Empire of the Sun. It's through his words. We had an amazing songwriting session together, connecting.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

Film is a collaborative art form. If you're not being collaborative, you probably shouldn't be working in film. You don't do it on your own. People who understand that, cultivate that, get the best results.

Musicals are very collaborative. Unless you find somebody who wants to do something with you and has equal commitment, it's not going to work.

When I work with Future, it's almost like a work of art.

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 would love for Radiohead to give me a call and say, 'Hey, kid, we wanna see what it's like working with you. We want you to produce our next record.'

Lissa Treiman is an artist who submitted a guest strip to me back in 2008 and whose work I've followed since. She works in animation. When I first mentioned on Twitter that I was interested in writing a series but not drawing it, she got in touch.

I would like to work with Drake. It would be cool.

I would love to work with Joanna Newsom on a ballet. I think that would be amazing. She has a gift for orchestrating and composing, and I think she would be really engaging to work with.

Collaborating with other artists is an emotional thing. Obviously, you don't do it unless this person inspires you.

I'd love to work with Frank Ocean. I really like his music.

When I write music for a film, I'm not writing a solo album, and I'm not writing a personal piece. I'm part of a team of artists. So I think like a filmmaker more than a composer.

Screenplays are not works of art. They are invitations to others to collaborate on a work of art.

I felt so nourished by the process of making [Moana], of you're always engaged with other artists from different disciplines, and it's about bringing your art form to the table. It's so many art forms mashed together.

I wouldn't mind collaborating with anybody, but I don't want to design anything, I'm not a fashion designer.

When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.

Film is a collection of many mediums and collaboration and you're only as strong as the people you're working with - and everybody owns their mediums.

A comic script is basically a love letter from you to your artist.

He's writing what I'm singing, and I'm writing what he's playing.