A Quote by Eric Drooker
We all know artists who like to collaborate, who like to work as a team. It all kind of depends what your habitual working method is.
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Now what I like is that other artists know my work and are interested in me or want to collaborate.
I like auditioning. I like working on material. I just love working. I like the chance to work on material. Sometimes it helps to not be going into a room cold and to know people. I've spent a lot of years getting to know people in the business, and that really helps. It depends. You can have some pretty terrible auditions.
I like the individualism about it. I like how each player is kind of different. It's a team sport, but still, once you've got the ball in your hand, you can kind of create things. But I like the team dynamic about it also. You've got to work together in soccer to score a goal.
I collaborate with Tidal because they're for the artists - the up and coming artists and the O.G.s in the game. It's like a home, the only place we have for the artists to find support.
I like it when people are kind and I like people who are looking for collaborators. Sometimes you can feel like a moving prop, and that could be amazing, you can be a prop in somebody's incredible vision, but I'm more interested in people who are looking for actors they can collaborate with and make something together with. I like stretching myself, I like trying new things out, but I'm really interested in working with directors who have a very specific style and a unique way of working.
What's good about many people liking the work is that when I want to collaborate or am interested in the synergy of artists working together, nobody ever says no to me when I ask to work with them.
You know how when you're alone with your cat, your cat is kind of silly and goofy and kind of crazy? And as soon as people come over, your cat is like someone you've never met before? You know, poised. That's sort of what it's like working with Jennifer Lopez.
The fashion business got boring. I was working with big companies, but the minute it became too formulaic, I got bored with it. I wanted to do a creative space where I could just make stuff - kind of like an atelier, where I could collaborate with other artists, drape geometric shapes on the body, make cushion covers, or whatever.
It's like every time you have one of these, you're sort of - your lease is renewed another five years. And that's kind of great for me 'cause that's all I really want to be doing still at this point, like just making records and getting to work with, like, artists that I think are exciting.
The team doctor, the team trainers, they work for the team. And I love 'em, you know. They're some good people, you know. They want to see you do good. But at the same time, they work for the team, you know. They're trying to do whatever they can to get you back on the field and make your team look good.
Some of the artists I've been working with it's been just work, you know what I'm saying? But in the industry I feel like the relationship is stronger than the work sometimes.
I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.
I love working with people and having them bring something to the table that I couldn't. I think one of my favourite artists to work with has been Kucka. She's Australian, too, and it's great working with her because we kind of have a very similar take on music, and we like a lot of the same stuff. We're not super-precious about ideas.
I wouldn't say that I'm a consummate live artist. Album work is kind of just like quilt weaving or something. But live music is just like a method of emptying out the mind through volume. Volume as a form that allows you to do different things. And that doesn't really translate to recorded music, like how do you listen to that, on Spotify or in your car? It's not the same kind of effect. I would say that the loudness is a huge part of what I do live.
Vulnerability of artists is definitely what makes organizations like PEN necessary because, as I tried to argue, the actual work that writers and artists do has an ornery way of surviving. Particularly in this age of the internet, it is very easy for forbidden work to be found online somewhere if you know where to look. Artists themselves, however, are in increasing danger, and not just artists. The great concern is that year after year, rising numbers of journalists are being killed in pursuit of their work.
I do have a sense of fear every day going to work, but I think it's something that I like. I mean I do like the feeling of waking up on my own, having this moment of like: "Oh, f**k, I hope I can do this today!" Because it makes you realise that you're working with material or you're working with a director or you're working with a cast and they're keeping you on your toes.
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