Quotes About Collaboration

I met Dylan on 'Pat Garrett and Billy the Kid.' We buddied around for quite a while after that. We jammed together; he liked my Mexican songs.

From the very beginning, I've always just wanted to do something I've never done before. I'm still just trying to be on that path. It's all about working with filmmakers that you believe in.

Music is a passion of mine, so I also want to continue along that path, creating with my friends.

Of course I'm a big fan of Migos and we crossed paths on the road a bunch of times.

Dann Huff is amazing and so patient.

The Macorinos and me - there's a big space between our generations. The people I was used to work with, we will do everything faster. And the Macorinos were more, like, calm. They were patient with music, and they were paying a lot of attention to the details.

I love the opportunity to help my patients, to work with them to find the best course of action to get them healthy and to give them the information they need to stay healthy.

I wanted to show people that doctors are humans, too. It's important for us to be around other people - that way, we can understand our patients better rather than just walking into a room, barking orders, and walking out.

Even in those early years of Static-X, there was a pattern emerging where I would spend all my free time writing songs for Static-X and the other guys in the band spent their free time working on their other projects.

I believe in, 'I do it my way, and you do it your way, and then see what works' pattern. I think that comes with me having worked as an assistant director earlier, which I really enjoyed.

And there's always one special element. In 'There Goes My Baby,' it's the out-of-tune timpani. 'Stand by Me,' it's the bass pattern. Of course, all the elements come together to make a great record. But there's always one standout.

Somewhere around the fifth, sixth album, we got this little formula together where we knew how to record Too $hort songs. You need the bassline, a good drum pattern, call in the keyboard, the guitars - it's just a way we mixed it all together.

You have to be flexible according to patterns and needs of director.

The group of writers I had grown up with in the '60s - Derek Mahon, Michael Longley, James Simmons, John Hewitt, Paul Muldoon - formed a very necessary and self-sustaining group.

I learned a lot from Paul Heyman, and I thought we had a great time. I've now gone out on my own, but he is somebody whose advice I trust.

I really liked working with Sean Paul; he is a very attractive guy, very hot. He was fun; the chemistry was really great, it was great to be in the moment.

Paul Butterfield and I had a band together at one point.

I've done commercials that Sam Mendes directed. Paul Feig directed me in a commercial.

When I heard that Paul Feig was directing an all-female 'Ghostbusters,' I was prepared to do anything to be a part of this, to be a part of what sounded like an incredible project.

Will I do another tour with Paul? Well, that's quite do-able. When we get together, with his guitar, it's a delight to both of our ears. A little bubble comes over us, and it seems effortless. We blend.

I look back on the early days of Free with Paul Kossoff with the most fondness of any of my bands, because I met him at a time when I was in London and very hungry, and we believed in each other.

Well, Sean Paul we've always wanted to work with.

Paul Gray - he believed in my art, and I believed in his music. Together, we decided to change the world, and that's what we did.

A-ha is not me, Paul, or Magne: it is its own individual that has its own identity and characteristics. It is a result of a particular meeting point between the three of us.