Artist-Producer Relationship Quotes

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.

Well, most of my sessions have been with Hit-Boy and London, so I haven't had the opportunity to really vibe a lot in person with the other producers. But they're super open to experimenting and taking direction really well and they have good energy.

There's been many times when a producer will say, 'I don't think you want to say that.' We were told we shouldn't be so brutally honest about songwriting or radio or the industry.

Working with Omarion is pretty amazing. That's like my brother. He's really cool.

Producers don't really have any authority because you are paid by the artist, and if they choose to ignore you, they can. Your power only hangs by the tiniest thread. If you pull it too hard it will snap.

I really didn't even pick producers. I just picked beats, except for Dre - he's the only producer I knew I wanted to work with.

I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves. Then you can edit or mess around with what they've come up with. But you have to allow the artist that space.

I think the days of working with producers in the conventional sense are over for me.

All I really want is a beat from Kanye West. I've met him, and I think he's real cool with us. If I get that beat, I'm going to rap the best verse I ever dropped - even if it's his worst beat.

Rick Rubin had his hair - I don't think it's ever been cut and very - dresses like a hobo, usually - clean but . Was the kind of guy I really felt comfortable with, actually. I think I was more comfortable with him than I would have been with a producer with a suit on.

We can be in the studio with the hottest producer, but we might not be able to create any magic! It's not about the hottest. It's about who we feel we have that connection with, and that's who we're going to be working with.

After three albums, you should shoot your producer

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 ran into Snoop one night. I was in the studio later, and I got this beat and thought he would sound great on it. I called him and he came right through that night.

Some artists want a producer to be a kind of svengali - someone who actually creates a sound for them.

When I work on someone else's record, I'm happy to alter the way I approach it, if I happen to like who they are and I'm interested in their music. But I know it's their record.

I work with any producer that brings me a hot beat, but you don't always know if it's a sample.

I hate studios; I'll be honest with you. People get weird in the studio. I've had some great and terrible times with people. People's personalities come out in the worst way.

I would say almost 60 percent of working with Kanye - let's say 53 percent of working with Kanye - is speeches.

With the Beatles, we'd been very spoiled because we had George Martin who worked for the record label we were going to be signed to. That was very fortunate, because we grew together.