Quotes About Collaboration

After a certain point of time, life's practicality hits you. So I got into theatre, did stage plays and worked along with Naseeruddin Shah and Nana Patekar, people who are committed to the craft part.

I've never been able to sit round on my own and play drums, practice in the back room, never been able to. I've always played with other musicians. It's how I play, there's no joy for me in playing on my own, bashing away. I need a bass, a piano, guitar, whatever, and then I can play.

Only having one melody instrument in play at a time meant that we could improvise more in our practices.

As it happens, although I was at MIT on the faculty full-time for 18 years and then at Harvard for another 16, so I've always been in full-time academia, I always found it was both beneficial for my research and beneficial for the other work to be involved in the practicing community.

I love practicing with the guys.

Our bigs do a lot for us guards to get us shots, to get us shots, to get us open buckets, that they deserve the praise.

As a co-writer of the Mumford's songs, I'm always quite insecure about the music - I find it hard to accept any praise or feedback.

I'm a big believer in building a crew. Movies are the most collaborative art form at the tend of the world, and it takes hundreds of people to make one. At the end of the day, I get the lion's share of praise or blame but everybody on the ground knows that it was all of us.

I have been a huge fan of Gautham; I remember him editing 'Kaakha Kaakha' and I used to pray for it to become a superhit.

One of the neatest things I saw with the team at Ohio State - and we preach about it all the time as coaches - is that the team genuinely played for the happiness, success and rings on the finger for the guy next to them.

I think back on it now and even though Gwen and I were living through a tough time with the breakup, as creative partners, that took precedence in our lives. Even though we were going through this really emotional stuff, which obviously ended out coming out in the music, we managed to stay really close and be creative partners through all of that.

You know, there're no rules between Russell and I. We don't want to have to have to talk too much, because it's really precious, really special to play music.

Collaboration is no longer painful - or precious.

Writers, directors often can get too precious with their words.

One of the great things I learned from how cooperative theater is, you can't be too precious about your ideas.

So, for me, working with larger companies has often been very satisfying, precisely because of the ability of bringing critical mass to bear on a given effort.

Young directors are a delight to work with. With no preconceived notions, they provide enough creative fodder for actors.

I think that if we don't get these politicians to come together we face the most predictable economic crisis in history.

Some actors don't want to, but I prefer to. I like to collaborate. Sometimes you have to keep it to yourself, and people want to do their own thing.

I love to collaborate! That's totally my preference. And I feel like everything I do ends up being that way.

I have always said being part of the team and winning a medal for my country was my first preference.

I am a big advocate for having an open discussion about team norms and preferences. At The Muse, some of us like to start working at 7:30 A.M. Others focus best from 10 P.M. to 2 A.M. Create a culture where it's acceptable not to be working when someone else is working.

When you are an actor, you have to stay inside this world, but when you are with the crew, on the outside, you are in the dirt, working through all the issues. It's just a different way of working, and I think I preferred it.

My predecessor, P. W. Botha, had an inner circle, and I did not like it. I preferred decisions to evolve out of cabinet discussions. That way, we achieved real co-ownership of our policies.