Quotes About Collaboration

One man can be a crucial ingredient on a team, but one man cannot make a team.

I mean just like the police don't tell me how to do the interviews, you know, we don't tell them how to do their business.

I do not want to act unless I have a a great intimacy with the people I'm working with.

There's something great about being on location with a bunch of people - there's a camaraderie and intimacy that builds up over time.

Every time that you do a play or a show of any kind, really you have this family that you really build something with for a while, and then we all dissipate, but you always have that connection, that eternal kind of intimacy, you'll always have.

There's a bizarre comfort and safety in doing your last and most intimate scenes with the actor you've worked most closely.

I think when you get on with the actors that you're working with, even if you do have really intimate scenes, as long as you get on well, and have a bit of a laugh while doing it, then it's fine.

Obviously, writing together is very intimate because it's sort of acting where you need to get to a really deep place to get the most emotional song.

The 'Qarib' team was energetic with an intimate way of working.

Making music with people is a very intimate process.

When I did 'Gilbert Grape,' Lasse Hallstrom let me be on the set with him and in the editing room and in the casting sessions and so on. And so I got a firsthand, rather intimate, high-pressure look at how to make a film.

I never had any apprehensions while shooting for intimate scenes, we are all actors. The only apprehension would be about who are the people who are working on that particular project.

'Beale Street' is such an intimate story that I think it requires intimate connections between the artists that are a part of it.

When you work with someone like Dulquer Salmaan, you tend to get a bit intimidated.

Performing was always my thing, so when I act with another co-actor, perhaps that is why I never feel intimidated.

Since I was inexperienced in films, I thought it would be very intimidating to work with experienced people like Sanjay Suri and Samir Soni. But I must say they are very encouraging. They clapped when I gave a good shot.

If there are actors that are brilliant, people often wonder whether it's intimidating working alongside them, but it really isn't. It just makes you up your game and want to be better. Rather than cowering in their shadows, it's very encouraging to see someone who's incredible; it makes me want to be a bit more like them.

It's intimidating any time to have a piece of art that someone else created, and that person says, 'Let's see what you created based on what I created.'

As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.

So Colleen Atwood introduced me to Armani for the fabric and the dyes - what made Armani, Armani, beyond his motion-picture credentials. It was Cerruti after that. And then Zegna.

When I was a kid, I was a really bad collaborator. I was pretty introverted.

Singing duets is instinctive, intuitive.

Everyone's job is invaluable. Film and TV production is collaboration.

Invariably, collaboration leads to new forms of self-expression and to the things that move you.