Quotes About Collaboration

I ended up renting a studio in L.A. for about 15 months. Starting in January of 2016, some of the guys in the band were coming out once every five to six weeks for like five days a time.

That's the most important thing to me - that if I'm gonna spend however long it takes to make a movie, give up 14 hours a day for however many weeks or months, then it's very important for me to know that I'm working with people who I respect and enjoy and that we're going for something together.

I came out of repertory theater, where I worked 50 weeks a year, and I loved working with the people.

It's usually, my people speak to your people and then they speak around each other and trade calls for weeks.

But thanks to the efforts, the initiative of the United States and of the several countries from the world, from Europe, including Turkey, it ended within a few weeks.

I got to work with Gene Hackman for six weeks, side by side, 12 hours a day.

I'm thinking about a few weeks in Montreal to work with a producer I met there.

Grown-up politicians talk to each other across party lines. Over the last few weeks I have had lengthy conversations with Ed Miliband, David Miliband, with Tony Blair, with Peter Mandelson... talking about Europe, talking about political reform.

When you make a film, you sign a contract with somebody, and it's not only legally binding but morally binding. You agree to give this man a certain number of weeks of your life, and you just go for it as much as possible. Because, whatever happens, the film is going to come out, so you might as well try very hard to make it a good one.

If a filmmaker and I don't get along, it's four weeks of your life, so, whatever. With TV, it's six years.

At Square, we got our tech up and running in three weeks, but it took us 18 months to get licenses, banking relationships and everything else we needed to be able to move money. We had to partner up with major companies to do it.

In theater, you get to rehearse several weeks, you memorize everything, and by the time you open, you know what the play is. In film, it's almost the opposite. You do your work on your own and maybe have a couple of minutes to rehearse. When the camera rolls, you generally don't know what's going to happen.

Most pieces take between two and three weeks and involve more than 40 people from the fabric cutters to the embroiders to the sewers. It's an elaborate undertaking.

I saw 'Joy Luck Club' when it came out, so that was early mid-'90s, and I remember seeing it with my long-time collaborator, Mina Shum. We'd just done 'Double Happiness,' and we saw this movie, and we were weeping. Like, shuddering weeping. Weeping more than really the film deserved.

To be honest, we never, ever let business weigh down the creativity of this band.

My drummer was my best friend. It weighs on me that we put all that time in - I played with him for 15 years, beginning with 'Laguardia' - and we had moderate success.

We have a government-to-government relationship with tribes, and they should have that opportunity to weigh in on important decisions that affect them.

Frank Marth also played many characters with us, and like George Petrie, he was worth his weight in gold.

Regis can do anything these young punks can do. I fit right in there with my Fox people. They want Regis to dance, Regis will dance. They want Regis to lift weights with them, Regis will lift weights with them. Whatever they want!

I can't tell you that if you bring in a bunch of weird and different people, then a bunch of good things will happen. But I can tell you that if you hire a bunch of similar people and promote only the ones who are most similar, a bunch of bad things are likely to happen.

The inspiration for our vocal harmonies was sort of Appalachian. It's sort of at weird intervals, and it almost has an Appalachian kind of feel to it. The harmonies were really spontaneous. And the way we jammed, we would just get into a trance.

After I changed the string we picked up right where we left off - and punched back in at the same time. I don't know if this has ever been done before. The engineer sort of looked at us weird, but we got it on the first take.

I tried to score a few films with this composer Brian Reitzell here in L.A. We made a bunch of music we really loved, but we got fired from the film for being too weird.

I just find it weird if you're in a band and you don't know how to make it look the way it sounds. You really need to be involved with the entire creative process in order for it to totally work.