Quotes About Collaboration

Fifty million Americans have dementia and other brain illnesses. To gather together the minds that exist and see how we can tackle these ailments together, that is the work that is in front of us: to have a map of the human brain, an understanding of the roadways, and an understanding of the traffic on the roadways.

Often, particularly towards the end of the process, I think of myself less as a theatre director and more as someone who just directs the traffic. My job is to move the ideas and bits of the show into the places where they work best. Sometimes my job is also to say, 'No.'

I have worked with Konkona in 'Mixed Doubles' and 'Traffic Signal' and one thing's clear - she is a fabulous actress and an excellent human being.

I have worked positively and successfully with Senator Sessions on issues like adoption and human trafficking.

Human trafficking is a communitywide problem, and as such, it requires communitywide solutions.

Technology's role in human trafficking cannot be ignored. But if we focus on how to prevent human trafficking, technology also has a powerful role. Like Ashton Kutcher's app Thorn, which directly spots human trafficking and connects you with officials.

Public crowdfunding still suffers from a tragedy of the commons problem. Everyone will want the benefit of the crowdfunded efforts but is incentivized to sit on the sidelines and hope others chip in.

A movie is painting, it's photography, it's literature - because you have to have the screenplay - it's music. Put a different soundtrack to a comedy and it's a tragedy. A movie combines all those forms and forces you to pay attention for two hours with a group of people.

I'm happy that I worked alone on 'Tragedy,' but it's obvious that I was trying to create something much bigger than I could do on my own.

Great discoveries and improvements invariably involve the cooperation of many minds. I may be given credit for having blazed the trail, but when I look at the subsequent developments I feel the credit is due to others rather than to myself.

Does it make sense for the U.S. to expend hundreds of billions of dollars to mount a new Apollo-style program to return to the moon? Or have we blazed that trail? Shouldn't we help other nations achieve this goal with their own resources but with our help?

We know that, immediately after 9/11, the CIA set up a program to collaborate with 80 foreign countries to varying degrees. The CIA also started funding other intelligence services in order to use them as proxies. We also know that some of these collaborations were kept off the record; supposedly, there is no paper trail.

Fifty years after humans landed on the moon for the first time, America has driven a golden spike on the trail to new space exploration feats through the work of our commercial partner SpaceX and all of the dedicated and talented flight controllers at NASA and our international partners.

Generally, when I'm going to a new project, I take my own makeup. I'll explain to them what it is that I would like. If they are receptive, we figure it out together. If they're not, I'll be going to back to my trailer and doing my own makeup. And that's the same for hair.

We meet before the movie and she gives you charts with sounds on them and makes a tape of examples. While they are setting up the scene, I go with her to the trailer and we go through the scene and correct the speech.

Nobody could dissapear to their trailer once it was up and running, you were all there on the same stage. It was 10 days of rehearsal and 10 days of shooting, which was very tiring.

There's something really nice about not sitting separate from the crew in some massive trailer away from the studio. To actually be there with them, it's more of a creative process.

I think you learn something from everybody that you've worked with. I really learned how to behave on set through the people that I worked with, like the importance of being on time and the importance of being professional. I don't bring my cell phone on set; I leave it in my trailer.

It's a bit like school camp, shooting a film. Everyone's on heat. It's a strange energy. It's full of adrenalin. I funnel my excess energy in funny little ways. I do a lot of dancing in my trailer. I love music.

If you are the record label who owns Lady Gaga, and you have a new artist coming up, you can say, 'Let's have the artist play just before Gaga.' Now you've exposed the huge Gaga audience to the new artist. It's similar to showing a trailer before a movie. The hit creates a hit.

I had my guitar at the set of 'Lost in Space' every day. I was the only one in the cast who had a stereo in his dressing room. So while I was in school or when I was in there working with Dr. Smith and the robot, half the rest of the cast was in my trailer listening to their records that they would bring.

On a big film, there's almost no way you can meet everyone. On an indie, there are 30 people and no trailers to duck into.

In the States actors get their own trailers, but in Korea all the actors group up in one room, and stay there together the whole day.

I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming, but it reduces the chances of 'misunderstandings' on set.