Quotes About Collaboration

I wrote 'And Two Boys Booed' several years ago, but we really chased around looking for the perfect illustrator, so it took a while.

Roald Dahl worked with other illustrators, but it was only when he teamed up with Quentin Blake that the chemistry began to fizz. Quentin Blake is Britain's greatest living illustrator and has that special talent all the great illustrators have, of unobtrusive brilliance.

I could have made a lot of money doing 'Golden Girls,' and I would have been good. But the image of it! And for me to work with Betty White every day would be like taking cyanide.

No, I don't go along with everything they say or do. For example, I'm probably the only one in the band who loves funky rock n' roll, trashy music and R&B. And I don't agree with some of our images either. But Don and Glenn have it covered.

Working on fashion shows, you work with the designer and try to read his brain - what was in the creative process, what images did he have in his head?

My two great loves when I'm shooting are working with great actors and composing images.

You've only got to look at a film to see that it has to be collaborative - the images, the performances and all the art direction and the costume, everything shrieks collaboration.

George has only got to ring me. His imagination is so wonderful, I'd do any character he might create.

The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.

David Lynch and I almost made a movie together in the late '80s. We had lots of dinners and lunches. He's a very cool, hip guy. This film, let's face it, is like an homage to him, I would imagine he'd find it funny.

I really never imagined that I could ever even direct anything, so 'Girls Like Girls' was co-directed.

I'm a comic book writer, so I work with a lot of artists. Sometimes, you get art back, and you're like, 'Oh, no.' Sometimes, you get art back and you're like, 'That's exactly what I imagined in my head,' and you're happy about that.

When we lay something out and the talent goes out there, I'm part of the creative process of helping putting things together maybe putting things in different places. When they go out there and execute it even better than I have it imagined in my head, it is just a great feeling.

I was imagining films in my head and trying to gather friends together to make movies since I was a kid. I tried to do comedy skits and a horror film.

We have this imbalance where the people who are making algorithms aren't talking to the people who are using them. And the people who are using them aren't talking to the people who are having decisions made about their lives by them.

I didn't know there was this sort of immediate camaraderie that's very intense when you make a movie because you're all in this together. You tend to get really close to people really fast.

I always enjoy the scenes with Dennis Waterman, particularly when we're playing comedy, we're always finding stuff together and he's very immediate.

Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great.

I love watching Billy Bob, just as a punter anyway. I like his work. But working with him is really easy and really straight-forward. He's immediately good. He doesn't have to work up to it. He doesn't make your life difficult. He listens. He's a very good listener, in terms of his acting.

I've been lucky to be part of very good teams and to play with immense players.

Kapil has his friends circle whom he hangs around with and I have mine, but as co-stars I have immense respect for him.

Those who had talked to us about national pride and Christian brotherly love were the first to come to terms or actively collaborate with the Germans. It was an immense blow to my entire intellectual and emotional existence.

The way we structure our deals is to work closely with the director. It is imperative to work with a studio because the way the film is marketed is crucial.

I'm not that interested in working with impervious people.