Quotes About Collaboration

One of my favorite moments was when me and Jay-Z made a song 'For Rhyme or Reason.' It ended up on 'Reasonable Doubt,' but they switched the beat because we couldn't get clearance from my label.

About 1998, my best friend, Katey Red, was the first transsexual male to come out with bounce music. And I background Katey for about two years. And then that's when the game totally switched when me and Katey jumped in it.

I stepped back from being out front to playing bass. So we started switching: I'd play bass on one song, we'd switch on the next song; I'd play piano... we'd play mandolin.

Sydney and I made so many pictures together we were becoming Abbott and Costello, so we broke up. You know Greenstreet was a comedian before he played 'The Maltese Falcon' and in that picture his dialogue consisted of seven pages in a row which he memorized weeks ahead.

After a year of post-graduate research, I won an 1851 Exhibition scholarship to work at Oxford with Robert Robinson. Two such scholarships were awarded each year, and the other was won by Rita Harradence, also of Sydney and also an organic chemist.

There's going to be a symbiotic relationship between the edge and the cloud.

True flexibility is a symbiotic partnership between employer and employee and between technology and culture.

Shoemakers and tanners form a symbiotic relationship out of necessity. One provides the leather while the other whips it into a glorious creation.

Music should never be a dictatorship. It should be a symbiotic relationship between the musician and the audience.

I love Damien Hirst. I respect his work a great deal, and I am happy that the polka dots I started using have become a symbol of love and peace around the world with everybody joining hands to use them in this way.

It is a real pleasure to collaborate with Frida Giannini and Gucci to celebrate one of the House's most elegant symbols: the horsebit.

I feel like there's a lot of sympathy and camaraderie among documentary filmmakers.

We are each but a quarter note in a grand symphony.

A Beethoven symphony should be rehearsed like chamber music, only for a lot more people.

When I do an operation, it's half a dozen people. When it goes beautifully, it's like a symphony, with everybody playing their part.

Part of an ensemble show is realizing it's a collaboration. It's like a symphony. Everybody takes their turn, but it's really the collective group that matters.

We can't afford big symphonies but we commission works that sound rich and symphonic because of the nature of the instrumentation and the people we work with.

Over the years it has been my privilege to lead performances with Saint Louis, the National Symphony, Cleveland Orchestra and so many other wonderful organizations.

There was a period after my first solo album came out that about 50 per cent of my work was with symphonies and big bands. We did the Captain and Tennille as well, but it ended up being about 50-50.

To play with a symphony today is just fabulous.

Western classical music is participative. Look at the number of people who are involved in a symphony.

When Sean and I are old, we're just going to compose weird abstract symphonies.

If you're going to start a group, make sure the people you're starting it with are in sync.

There's this whole other element of film scoring, which is the social and psychological side of how you're dealing with people... And that is not always in sync with what's right for the picture.