Prodigy Quotes

I've worked with a lot of people on music and often times those things don't work out.

I enjoy the collaboration. I always envied people in bands who got to have that interaction. I've done so many albums where I've been in the studio for 14 hours a day for six months just trying to come up with things on my own. It's a nice change helping other people with their music and not being all about what I'm trying to do myself.

I've learned a lot from Dave Stewart; he's a serial collaborator. He's co-written songs with more people than anybody I know - like the most incredible people too.

When I'm in the studio with a writer, I don't mind for them to take the lead and show me something new.

'Heartless' is something Ann and I wrote together.

Even when I'm making my own solo records, I'm collaborating with people. It keeps things interesting for me.

To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.

It would be fun to write with Adele, actually. She seems like a fun girl to write with.

There was absolutely no intention of splitting up. We had so many great ideas to use on the new album. John Paul Jones was incredible, coming to the studio each day with new instruments to play.

I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.

I really had a great time working with 'Modest Mouse,' just because of the people. I loved writing songs with Isaac Brock, and Jeremiah Green is probably my favorite musician that I've worked with.

For me making music is part social, part interaction, part collaboration.

I like to collaborate on my music. The creative process is fun, and you get a lot of ideas from having discussions about it. Ultimately, the final decision is mine.

I write the music because I can't really write lyrics. But I can write chords like Robin's never heard of. So I provide the music for them to add the lyrics to.

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.

I really like the thing I did with Martina McBride. I had that song sitting around for a long time.

I had my own musical ideas that Mick helped me with as well.

If you're going to write a song, try to get together with a collaborator because it's better to write with collaborators.

Everything I do is collaborative. It's just my way. I'm really very interested in how the other musicians perceive the song.

For 'Dynamite,' Max and Luke went to dinner and left me with a melody, and then I put it together.

I used to be opposed to collaboration, and that's probably why the music in the past wasn't as good. Writing with other people, especially the great writers that I've had the privilege to write with, it activates something in your mind that you wouldn't use alone.

When me and Gucci sit down, I make tracks real fast, and he can write songs real fast.

Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.

Well, Sean Paul we've always wanted to work with.

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.