Quotes About Collaboration

My drum parts are a song within the song; that's the way I look at writing my drum parts. They follow patterns, and they're written to interact with the rest of the band. There's quite a bit of thought that goes into it.

Me and Jason Kidd are with the same agency so I talk to him quite a bit.

I've had a lot of creative license; I improvise quite a bit. There's a lot I like to do that satiates my creativity, but at the end of the day, I just want to make the guy or gal happy who's directing the movie.

I worked with Michael Black and Michael Showalter on their show 'Michael and Michael Have Issues.' We did some stuff on that, but it ended up not getting picked up for a second season. There will be more stuff, but not right now. Michael Showalter and I are literally next-door neighbors. We see quite a lot of each other.

I wrote a song for Icona Pop which boosted my confidence quite a lot.

I'm not a big fan of file sharing. I mean, I've done it quite a lot for other people, where they send me the file, I do it and send them back. You don't get any back-and-forth and exchange and feedback when you do it that way.

In a way, I'm always working with Mick Jones. I feel like he's watching over me all the time. We talk about everything: history quite a lot. Balloons and wars and old football players. The Clash.

I did quite a lot of television episodes with B.P. Singh. He used to stay near me and we would travel together. He had a car and while going back home we would discuss about the stories, the dialogues, etc. Whatever he taught me was more than enough to start a film.

My ambition is to contribute my quota to the overall success of the team.

When you race a sailboat, the selection of your crew is just completely paramount. It's impossible to be an effective skipper if you don't have the right people working harmoniously in the right roles.

I am proud of what I was able to do, the races I was able to win and the championships, but that had as much to do with the teams and the people I worked with as well. Its not something you just do on your own; it's a whole army.

A year of service has the power to bring young people together from different races, ethnicities, incomes, faiths, and political backgrounds to work on pressing problems facing U.S. society today.

The best part of my career was being able to play with a lot of guys from different countries, different places, different races. That was the best part about it.

It is important for a racing driver, for myself and for the team, that we can say that we trust each other, and it is not lightly said.

When I did 'Racing Demon' by David Hare, I worked with Paul Giamatti, who had stacks of books in his dressing room. I was offstage a lot, so I would go read in his room. He was reading a four-part series on the Byzantine Empire by Alexander A. Vasiliev. I read two of those during the run of the play.

Since I started in motor racing I've worked with people from all over the world. We are all here to go racing and prejudice will never play any part in that.

I've driven for A. J. Foyt, now the Andrettis, and my NASCAR team is Richard Childress Racing, which is one of the greats in that sport.

I want to thank everybody at Stewart-Haas Racing, everybody at Ford for just continuing to put the effort they put into these cars.

I think I feel a car like anybody else can, but maybe what makes me different is that I race so much that I have experience racing with a lot of different crew chiefs. I'm really easy to get along with and me not knowing anything about a race car, I know to just let them do their job.

With Yo Gotti 'Rack It Up,' that was him hitting me like, bro, I'm about to put out a single next month, I want you to produce it.

Sometimes directors may not give you words, you know? They may not talk at all! You've just got to use your radar to figure out how you can get to the center and not lose yourself, but still be directed at the same time.

Shortly after I finished chemo, but during my 12 weeks of radiation, Lennon and I returned to work on the third season of the show we write, produce and star in, 'Playing House.'

Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter.

'Solja Rag' was designed for Juvenile. It wasn't one of them beats where I was gonna chop it and see who I was going give it to: it was Juvenile all over it.