Quotes About Collaboration

My collaboration with Sally Potter on a small movie, 'Yes,' was very special to me. It helped my growth as an actor.

I'm really proud of my partnership with Pottery Barn Kids.

Greatness is empowered in a system where you pass the ball, not pound it.

I like to write with people I have a relationship with; otherwise it's kind of scary, and you hold back because you don't want to pour your guts out to someone you never met.

A lot of the time, you see all this ambition from these black actors, and it's just pouring off the screen. Because they don't often get a chance to work, and when they do, they don't usually get a chance to work with other black people.

I feel like there is something about having a copacetic world POV that helps in making a comedy. Like, David Wain has such a particular way of looking at the world. It helps when everyone can see behind his eyes, you know?

Of all human inventions the organization, a machine constructed of people performing interdependent functions, is the most powerful.

We work closely with a number of powerful organizations, including Christina Applegate's Right Action for Women.

There should be no borders, race, colours, or ethnical considerations when it comes to music and creativity.

I would love to work with Raju Hirani. I never thought I would have a wish-list of directors as such, but after seeing the consistency of his storylines and the human touch he gets in his film, I would love to work with him.

I'm sure there are actors out there who work with other actors on a consistent basis - I am not one of them.

If Brian Eno wanted to make a record, I'd definitely clear some time in my calendar. John Cale, too. Those guys consistently make great records, always doing their own thing.

When we do our legislation, we're not trying to figure out, 'How can I use this to run against you?' We say, 'How can we pass this bill to help both of our constituents?'

Compromise is the key element. The more constraints you have, the more compromise you have to have. But, I personally believe that, when that happens, you have to get more creative, and you end up with something that is even better.

I don't mind children cribbing answers off other children. It's one of the ways they can learn. I also don't think there should be too many constraints on what they can look at on the Internet.

All I can say is that, as an industry, we are trying to come together and find a way of constructively making a system where we all have a safe environment, and it's going on. I am part of that, and I hope that we come up with a constructive system which is equal and genderless for every human being.

When I do something, I consult my family, so that when you get me, you get my whole family.

If someone wanted to do a biopic about me, I would like for them to consult my family.

I always wanted to work on the consumer market; I always wanted to work with people.

Exclusives are bad for artists, bad for consumers, and bad for the whole industry.

I've gotten to work with some amazing brands that, in many cases, market to female consumers.

I rarely have any contact with the artists who cover my songs.

Cross-pollination and 'contamination' is really important to the health of fiction, and sometimes it's a literal conversation, too, in that writers who might never otherwise meet and talk do so because of our anthologies.

I follow the work of my contemporaries. I love their work.