Oneohtrix Point Never Quotes

I love illustrating for other writers because I am given stories I never would have thought of, and my work as an illustrator is always in support of the story.

I think that's kind of the perfect mix, where you do something that you're not sure about, you feel like you're taking a risk, and then you turn around and look at the artists that you're collaborating with and you can read the expression on their face if they like it or they hate it.

I was digging in the backyard to get my own clay and making pottery. And then I started taking pictures and built my own darkroom. I would go out at six in the morning and just take pictures.

For me, the making of exhibitions has always had to do with dialogue: a concentrated, in-depth, focused dialogue with artists, who keep teaching me that exhibitions should always invent new rules for the game.

There is no blood in jazz drumming, and there are no bullies in jazz drumming.

Being a hybrid maker off and on over the years, I'm very comfortable with the idea and have been the subject of quite a few pretty good mash-ups myself.

I love ensemble work. I love making pieces and building things together.

When a sketch comes into this three-dimensional form and everybody contributes, it's really fantastic.

I was very committed to the process of composing, working at poems, putting things together and taking them apart like some kind of experimental filmmaker.

I thought we were gonna open up the world of poetry and music to all kinds of things, and yet, I can't really think of anyone who's done anything like it since.

I got involved in lots of different areas round about 2007, 2008. Just working with lots of different people and stretching myself in different ways. I was working on art projects and working with other writers, just doing bits and pieces, trying to keep busy.

I like working closely with artists. I think that's very important in fantasy and science fiction - the visual aspect of the worlds and the characters.

I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.

There's no better feeling than just going in and just working with someone and what comes out is something that the world knows about.

Being in the same room with people and creating something together is a good thing.

The actors have to be able to feed each other and inspire each other.

My husband, David Simon, and I make our livings using our imaginations.

I'm just gonna make art myself. I have a lot of ideas of things I wanna do and really talented people and friends I'm around, so we decided to make our own thing and set out to do it.

I like seeing the cameras because it helps visualize how the music people and the movie people teamed up.

I like working with creative people who are receptive to new ideas, who want to do things that are different, who want to create films of a different mould.

A lot of people want to collaborate with people because of their level and status, but really I want to create with Beyonce just because of her skill and because of the history we have together.

I'd like to do some crazy art installations and design some weird synthesizers and work with other people and make some fun stuff for a bit. Maybe tap into virtual reality stuff or maybe write another record... We'll see.

Working improvisationally in my studio with dancers, it's completely different. We don't have any starting point; we don't have an end point. We don't have anything we are trying to show or do. The picture evolves from nowhere.

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

It's a really deep and layered psychological situation - making music with someone - if they're trying to make something real and personal. It's almost like dating: you allow yourself to be consumed by the other - not in a bad way, but in a way that happens in nature.