Quotes About Collaboration

I would say the most important aspect of direction is that you, as a director, and your producer need to be on the same page, the same line of thinking. If that doesn't happen in the beginning of the film, then that will show in the final product 100 percent.

I've never worked hands-on with a producer. I've been on my own writing, just taking beats and doing what I have to do. I've been on my own. To have Timbaland invite me in and say that 'I want to work with you' is amazing. He's a legend.

My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.

My producer, Michael Knox, he's kind of my eyes and ears on Music Row. While I'm out on the road, he's looking for songs, and then he and I will get together and go over songs.

If no producer, no movie.

In the case of Roadcase Royale, everyone in the band has a lot to offer as a writer and producer.

When I'm on a picture, I have two bosses - the director and the producer. My co-star is not my boss.

Sometimes a producer and an artist get together and they make magic like Quincy Jones and Michael Jackson. As far as my own music career - you could liken my chemistry with Timbaland to Marty Scorsese and Robert De Niro.

Dave Meyers is like a great producer, director.

I can only go with my gut and say what I would like to do, and then my producer comes in and makes it happen.

It's lovely being a producer. It's really a lot of fun and I can learn a lot.

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

Dave Fortman really helped me appreciate Rick Rubin as a producer.

When I first started out, they were like, 'Is there anybody that you like that you want to work with, and we'll see what we can do?' And I went, 'I like Malay,' who's Frank Ocean's producer, and they were like, 'Not going to happen.' It did seem so, like, high-in-the-sky sort of thing, do you know what I mean? It still does, that it happened.

From the engineer to the producer, all of these roles are critical to creating a song.

I'm developing some screenplays at the moment with my Australian producer.

Being a producer, I deal with a lot of different directors, and some of them would drive me insane with all the different histrionics, and the mystique that they carry.

Sometimes the producer has more say and the director takes what he is given. On other occasions, you don't see the producer very much and the director is the one who it is all about.

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

It's just that back then we didn't know that was considered being a coproducer. I would sit on the side and say what I wanted musically, but at the time we thought if you aren't the one playing it, you don't get the credit. Now you'll start seeing my name listed as producer.

A producer should only be there to enable an artist to be himself.

I had 25 or 30 songs. Sequencing the record, I left that to the producer. I'm not into doing that stuff.

Being in L.A., it was really hard to find a country writer and producer. I eventually - years of searching - found this guy, Dan Franklin. He's an incredible musician and producer. We write so well together... It's been a really cool experience.

Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.