Quotes About Collaboration

I want to work with people who have new visions of cinema.

A lot of people come work with me because I keep an open set, and people can visit. Julia Roberts used to have friends visit on 'Pretty Woman.'

I would go visit my mom on Sundays, and my brother was working on stuff. I'd go in there and sing a little melody, then we started working with words and the next thing you know it was just born organically without really trying.

Me and Vince are like cool, man. Good relationship with Vince, man, and I've been on a lot of trips with Vince, as far as with overseas, going to visit the military. And even at work, man, ideas, he's open to a lot of people, everybody, pretty much. If you have a good idea, he wants you to go in there and prepare with it.

I visit studios. Just to get the feel, the smell, and see what other people are doing. Not only listening to the radio, but going to studios, greeting musicians and artists, just getting a vibe.

To go back to visit the early days with Bob Fosse and Gwen Verdon, when she was the dance captain of 'How to Succeed,' and finding them again 25 years later and working with them on 'Charity.' That was really great fun.

I deal with the authors I work with, agents, and other departments of the company, talking about both the books that I'm working on and everyone else's. Then there's dealing with foreign publishers: foreigners visit all the time. People want to bounce things off the publisher, and a lot of it is encouragement.

I love the story of 'Lamborghini Doors,' a record with Meek Mill and myself - it came together when I went to visit him during his incarceration.

On No Doubt's second visit to Paisley Park, sometime around 1999, we were working on a song with Prince called Waiting Room,' which would later be released on our Rock Steady album.

I've worked in public education for 30 years - as a teacher, a lawyer and union leader. I've visited hundreds of schools and districts. I've seen leaders from the classroom to the national stage who have been willing to set aside their differences and do the hard work that's necessary to create real, enduring change.

Scott Frank and I are director friends. We met through the Sundance Labs and he's advised me on my first projects - I've visited him on set, we've shared first cuts with each other, and we're more like director pals than anything else.

You never know what to expect when you're a writer visiting a movie set.

I'd love to do some collabs or music with Latin artists and in Latin America - we're working on it! I just really love Latin America and the language, culture, foods, people, and it's a place I grew up visiting pretty often.

I never imagined working with CEOs, congressmen or the military, yet I make regular visits to the Pentagon, stop by the Capitol now and then and sit down with leaders of all kinds of companies.

A Nicklaus Design golf course is done by the guys in my company that I work with, that have been trained in my vision, and they do what they think I might do. They might come in the office and ask me questions and I'd certainly answer their questions, but I'm not involved in the site visits or anything else.

I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.

It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.

Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don't look at myself as a visual artist. I make music.

My greatest strength as an actor is that I follow my director's brief completely. The film is always the director's visual baby.

The standard way to record a meeting is to list people's names, the topics, and action items. The visual way is to doodle a rectangle (the table) populated by figures (the participants) sitting around the table with their comments as cartoon word balloons.

Communication is the key, and it's one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.

Sometimes when you get in this game, you think that you're going to take off if you do a song with someone big. But that's not the truth. Everything with you got to be good - the visual, the push, the production.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.

My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.