Quotes About Collaboration

You have to think, 'What can I do to help my team develop, grow, and become better performers?' rather than, 'What's in it for me?'

I like to know that my actors or my performers are going into it with the same amount of passion that I have for the project. They're as dedicated to achieving as I am.

The relationship between the models and the musical performers is very important.

One of the great things about shooting in Los Angeles is you have access to all these great performers. We love working with ensembles, and that process of getting a great group of people together and setting them in motion.

The only thing that I can contribute as director is to work with the performers in a way that brings out the drama.

I would like to face everyone on the Impact roster. It is filled with amazing performers, I would be honored to share the ring with any of them.

There has to be an interaction of musicians on stage. Otherwise I feel too alone up there. When performing is really good, when it really works, maybe once every 15 shows, it's very special, and you realize that's why you do it.

I would not correct dancers if I was performing, because I don't believe in performers correcting other performers.

I like performing. I like partnering with an audience.

I don't feel that I have to control every aspect of things that I appear in. You learn a lot performing someone else's writing.

If I'm performing with a DJ, it's all on me to draw the energy. I like the camaraderie of a band.

I think that everybody's worked on shows where you feel like maybe a divide has happened between the talent and the crew. Those are the hardest jobs to do your best in, because as you're performing, you're aware that the people around you, because they haven't been afforded the respect that they deserve, they're not as invested.

When I first came to New York City in 1967, I joined up with Richard Schechner's Performance Group - where we worked in the Performing Garage in SoHo.

I think that the 21st century will be feminine, that it's women who will, perhaps, find a way out for this world.

You know, songs often have a very coloured past. They might have something about them but it still doesn't work, so someone else adds a bit, and someone else adds a bit so perhaps one day I'll know its full history.

I'm inspired to work with good actors, period. I want to work with the best anytime because I think they'll make me better.

I first met Miles Davis about 1947 and played a few jobs with him and Sonny Rollins at the Audubon Ballroom in Manhattan. During this period, he was coming into his own, and I could see him extending the boundaries of jazz even further.

Someone like John would want to end the Beatle period and start the Yoko period. He wouldn't like either to interfere with the other.

As a professional, you pick up ideas from your colleagues and the orchestras you work with, while coming up with mutual interpretations in very short periods of time.

Since he was 17 years old in Atlanta, I think people always knew that there was something different about Key. He's obviously been able to adapt to so many sounds and time periods in his own way, which is clear from the long list of collaborators; but he has always retained an effortlessly weird perspective.

Working with a female director has great perks.

Black people shouldn't have permanent friends or enemies: they should have permanent interest.

That's why it's called Sebastian Bach. I mean, it's a permanent band, pretty much, but if I jam with other people, it just makes a better album, I think.

Frankly, I want to be in government with Caroline Lucas, not against her - and certainly not in permanent opposition.