Quotes About Collaboration

With Priyadarshan, he is extremely strict but lets me do what I want. You have that kind of freedom as an artiste.

Every job I've inherited, like 'Strictly's It Takes Two' and the radio show with Zoe Ball or 'Big Brother' with Emma Willis, I'll always ring them first and say, 'Are you OK with me doing it?'

A guitar for me is pretty much strictly in the context of writing songs for my band, coming up with ideas with my band, and then being able to perform those songs as best as I can on stage - that's what the guitar for me has always been.

There are very few people that I deal with from a business side that it's just strictly a one-sided business relationship. I think that's important.

I try to get the hip-hop aesthetic, most times without an MC. I don't use a rapper or a DJ to give it the hip-hop style; it's strictly the band that makes that music, which is a lot harder to do.

'Strictly Sinatra' became a compromise between me and the producers, and neither of us liked the results much.

Being in a band is a really magical thing because you've got a family and you operate as this one entity. It's very democratic; everyone is involved in the output. But within that, there can be a lot of disagreements and strife.

Maybe that's my only remorse, not having played more alongside Ibrahmovic towards the end of my career with Milan. We had an incredible feeling - he was delighted when I scored and I think we were made to play together and be a strike partnership.

Obviously, when I go in at No. 11 it stands to reason that we will have a better chance of scoring runs or batting out time if the batsman at the other end takes most of the strike. That's because, as my place in the order suggests, he is a better batsman than me.

I went to work with a guy named Matt Fuller, who was a Mothers fan, and low and behold, Arthur was working for him also. We worked together for about six months and decided to strike out on our own.

In a leadership role in Iraq and in running my own business, what I've learned is if you don't listen, you're going to strike out. You're going to fail miserably. The people you work with have got to know you're engaged and you're listening.

When you create pressure in the previous over for your partner to strike, it is sometimes as satisfying as picking up a wicket yourself.

I've had many strike partners over the years and usually their aim is to outscore you - and take great pleasure in doing so.

Rather than doing a hero-oriented film, I love being a part multi-starrer film, because such films always strike a chord with audience.

We're in the business of making films, not striking or anything else.

I started trying to do my own music at home, and I was like, 'You know what, I can play the guitar, sort of. And I can do these things, sort of. And I can make these crazy noises on my computer, sort of. But I need a ridiculously good drummer. I need someone to help me with string arrangements.'

No, but a cello is the perfect string bass for an accordion. Works with it beautifully.

Think of a musical as a string of pearls. If you don't have a string, you can't put the pearls around your neck.

The fact that I'm a fifth of Punch Brothers... that's lucky for me because I feel like I get to operate in the context of one of the great string bands. There's just not another string band I would rather be in, and i'm just compelled to make music for and with string bands. It's what I know, and it's kind of like who I am.

Whether it's string writing or whatever, I try to write for what each instrumentalist can do best.

With the a cappella groups, every voice is like one string on a guitar, one note on the piano, or one cymbal, and you don't have the luxury of falling back on anything.

My son and I run a string company, and he has a studio there, and I go down sometimes and we'll record.

Producing isn't just making beats on a beat machine. It's bringing together these string players with this flute player and this singer, and telling them to all work in the key of C major... You bring these people together and let them all cook.

One is that you have to take time, lots of time, to let an idea grow from within. The second is that when you sign on to something, there will be issues of trust, deep trust, the way the members of a string quartet have to trust one another.