Quotes About Collaboration

I'm trying to make the world a more open place.

I know Barack Obama. And I believe that as president, he'll pursue the common good by seeking common ground rather than trying to divide us.

Very few artistic partnerships last more than 10 years, and if they do they tend to go down the tubes.

I started Stripe with my brother John Collison while we were in school together. We first started off building iPhone apps together and using the money we made from them to pay our tuition.

There are many philanthropists who we admire and have learned a great deal from, including mentors like Bill and Melinda Gates and peers like Cari Tuna and Dustin Moskovitz.

I think what you learn, working on a film or TV set, is how to tune certain things out. You've got 60-100 people swirling around you, each of them with a very important job to do.

It is hard work composing a song for a film and showing it to makers: 50% of the tune remains the same, and the remaining 50% is changed to suit the script.

What I do and where I come from, the kind of music that I'm making, it's definitely U.K. If I turned around and did a tune with Timbaland, it would be amazing, but it would be me kind of leaving where I'm coming from.

I organise jam sessions every month. We have an open session, so everyone knows about it, and we can get as many as 30 people showing up at the house. Somebody will play a tune, and everyone will pick up on it. My best friends are all musicians.

When I do a film, I try and see how in tune I am with the director.

I've always wanted to do a tune with The Prodigy because I'm such a massive fan.

I absolutely loved working with Mahesh Bhatt. He and I were so much in tune that he would just press a button and I would start.

Thomas, my 15-year-old, is effectively my editor, I've always trusted his voice, more than anybody, on the strip for years. He has one of those ears that's just tuned to the rhythm of humor, so if he says something's not funny, my stomach just hurts because I know he's right, and it's already been drawn.

I thought, when I came to Nashville, I was going to hook up with some of the top country writers in town and write some country tunes.

When we first started playing we did a lot of rehearsing. We used to write out everything. In fact, that's the way everybody rehearses: we play the tunes and improvise.

Over at the Olivia Pope & Associates set, we're like middle school children. Every time there's a cut in the action, we joke and dance around; there's show tunes and fart noises.

The only thing that makes sense to me that I've learnt over the years is knocking tunes together.

I picked all the tunes before I went to Memphis, and the band was all set. Willie Mitchell is an arranger like I am, and he let me do what I had to do.

I've done a couple of tunes with Kaytranada. 'Got It Good' has had such a great response.

There's only one cook in the kitchen, only one chef. I let the soloists do their thing - you've gotta let a man do a solo the way he wants - but as far as picking the tunes and working on the arrangements, I take full responsibility for it.

Since his childhood, Bappa has observed me singing and practicing and is well aware of all sorts of recording and singing arrangements. I have a studio at my home, so whenever he needs my help I make sure I stand by him. I often sing for the tunes that he composes.

I've always been of that mindset - when you're writing tunes with people, there's a traditional way of chopping things up, and then there's the way that feels right. If people contribute, you hit 'em accordingly.

Anyone I have musical chemistry with, I recruit, and we do shows and create drum kits together and make tunes for the SoundCloud.

John Abraham is a really good guy. We get along very well. It's a nice thing when you have a great tuning with your co-stars, as it makes the working experience all the better. Then you look forward to working with each other every day when you are shooting.