Quotes About Collaboration

You can design and create, and build the most wonderful place in the world. But it takes people to make the dream a reality.

You don't always just have to do an indie movie to feel like you're controlling it with a few people that you really have connected with, creatively. You can do it on a bigger scale.

When John said that he wanted me to play with him on piano, I told him that there were many others who were qualified. He said, 'I want you there because you can do it.'

The biggest thing I have realized was that you have to choose your collaborators very carefully, and that not everybody can like you. The process of filmmaking is so difficult, there's no point in doing it unless you can do it the way you want.

The most important thing is that it's much more fun to play in a band than to be in an audience in a club. That's the main thing I think, that you can do it.

Highlight reels are about that one person. After a barrage of highlight reels, you get the sense that you can do it without a team. But music thrived the most when groups were involved. People lose sight of that - that community makes the world run.

In the past we've tried to hire people in locations where we have critical mass, because we thought it was better for people's career development and easier for them to collaborate. We realized if you have somebody in a particular location who is willing to work the hours to be able to collaborate, you can do it very efficiently.

When a group of ultra-opinionated, uber-creative romance authors get together, I'm sure you guys can imagine how fast the ideas start flying!

I think whenever you have a common goal with someone, you're going to bond. It's really hard to get two people together and be like, 'Hey guys, why don't you just bond!' But if you say, 'Listen, I need you guys to build this house, or I need you to do this or I need you to make this movie,' you'll get to work and you'll get close.

When you go to set, they just go, 'OK, let's see what you guys do!' The camera moves around what you initially feel.

Chemistry's a word that people who make hires and decisions say, 'Hey, you guys go out and work on your chemistry!'

Everyone, Republican or otherwise has their own particular part to play. No part is too great or too small, no one is too old or too young to do something.

Yes, we become stronger when men and women, young and old, gay and straight, native-born and immigrant fight together to create the kind of country we all know we can become.

If we all act together - business, governments, NGOs and citizens and, especially, the young - just imagine the good we could create.

Geddy Lee and I went to the same grade school. He moved away when we were still young, but I remember him like I do all my friends from back then. Then in 1982, Dave Thomas and I were approached to do a record as the McKenzie Brothers on Anthem Records, the same label that Rush was on.

We are creating the new Atlanta, along with Rich Homie Quan and Young Thug. We bring the spaghetti, put it in the bowl, mix it together, and we make the new Atlanta.

Most of my ideas come from drawing patterns across conversations I have with different types of people - technology investors, young fashion design students, a CEO. This variety is stimulating and offers many different perspectives on the things I am thinking about.

I always talk to all the crew. I always make it pleasant. I always nurture a relationship that makes people feel like they're important, like they're a part of the collaboration. I feel that way about the young actors on set. I don't talk to them like I'm the mentor; I talk to them like they're my peers. And I learned that from Meryl Streep.

Working with young actors is really going with trust. I never see them act beforehand. Because that's not their job. It's my job to make it happen on set.

I enjoy working with Doon's talented, young actors and also get to learn from them.

The Longstockings are eight children's and young adult writers. We all came out of the New School MFA program, and we meet regularly to critique each other's work.

There's something intrinsically Australian about a bunch of brothers and school friends getting together as a band at a very young age and all pulling together as a band at a very young age and all pulling together as mates to make something happen.

Working with Robin Williams, and Bob Hopkins, and Dustin Hoffman and you're talking about 'gods,' really, in our industry. You look at legends everyday. It was so impactful to me as a young artist.

I think we've faced all the typical challenges that young filmmakers go through over the years - time, money, negativity - but it's a lot easier to manage when you can learn from and laugh about all those mistakes and anxieties with your best pal.