Quotes About Collaboration

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.

For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.

You can see how different artists work, from writing to recording, just from being in the studio environment with them.

It depends on the time of the year and who I've been talking to, I try to put people in the studio I like.

We happened to be in the studio next door and I think Noel Redding came around and said, 'Do you fancy having a sing on this?' We just went and did it and it was great.

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 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.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

My earliest professional musical experiences were really as a session player, and every day was an adventure. Three sessions a day, every day, and you never knew who you would be working with until you arrived at the studio.

Johnny was great in the studio; he was there to make the music that he wanted to make. We lived right beside each other and had a rehearsal studio that was just ours, with nobody else using it, it was part of Johnny's house, so we could rehearse every day.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

The studio is meant to be always a place where, first of all, they can be out of spotlight, and second, where they could work with a peer group on parts that they might not have played otherwise.

When I left the band I said Look, I am ready to move on. I was interested in playing with some of the other people that I had bee a studio musician with.

But after this last year and dealing with the studio, the rest of us are closer than we've ever been.

We've been working with the very best in the business. The studio really just let us alone to make the films.

I do have electric guitars, because I've always believed, especially when I'm working in the studio with other bands as producer, that there should be a really nice Strat around.

Being on my own in a studio is really, really different than making music with the band. I can't say I necessarily enjoy it more, but it was just a new experience for me.

I knew Chester. I've known Chester since 2001. I was in a band called Dry Cell, and we were signed by the same guy that signed Linkin Park, so that's how I knew him. He would come to some of our writing sessions and rehearsals; I'd see him in the studios that we were at.

When I see a lot of the big Hollywood movies, I see they are all financed by Indian studios.

Electronic musicians are quite like writers or painters. They are quite isolated in their home studios. We often don't have that the opportunity to collaborate with that many people, like in rock or jazz.

From meeting Robert Plant, John Bonham, and John Paul Jones, teaming up, rehearsing, playing selected gigs outside of Britain, coming back into Olympic Studios to record the first album, and then going to America, which we crack open like a nut with the debut record - all that happened, literally, within months.

Nowadays, I really like playing in studios.

We were like a stock company at Warners. We didn't know any of the stars from the other studios.

I lived in an area where there were a lot of rock musicians, and we got together regularly in our studios.