Quotes About Collaboration

People return my phone calls now, which is really interesting. I'll tell you what I've learned that's kind of bittersweet. So many doors have opened up. I've met everybody in the business. I'm fortunate people want to work with me.

What I have tried to do is involve the people I was photographing... if they were willing to give, I was willing to photograph.

When it comes to partnership, some humans can make their lives alone - it's possible. But creatively, it's more like painting: you can't just use the same colours in every painting. It's just not an option. You can't take the same photograph every time and live with art forms with no differences.

There's a kind of telepathy that goes on with the photographer and model.

When people ask how have I kept on top, I have to say with the help of every photographer, make-up artist and hairdresser I've ever worked with.

If Caravaggio was a photographer today, I would love to work with him. I love his dark vision - I have a dark vision.

It sounds really cheesy, but I've just really been so focused on making sure that I am nice to everyone that I work with and making the effort to get to know the people on set, whether it's the catering crew or the famous photographer.

When you live with a photographer, you never have a day off - it was a nightmare.

If you have a cool personality, the photographer will want to work with you because he or she will have more fun on set.

It was like two different photographers, and shot in three different locations and it was really fun to do. There were 12 beautiful girls in it. It was great.

Photographers have always been each other's biggest fans.

I love working with photographers.

There're only a few photographers I've ever felt really comfortable with.

I take my camera to shoots and ask all the photographers and assistants to show me what to do with it.

Rex has photographers around the world - it's a higher touch business: there are a lot of relationships involved. If you throw an event, there are certain photographers you've worked with before and you want there.

I think that something photographers find about me is that I work really hard to make sure I know what they want before I start shooting.

I get to collaborate and tell stories with moving photographs.

I never think of photographs as being individual. Always as a group.

To me, the main and most exciting thing about photography is to meet people. The picture is the result of what happened between me and them on the set.

We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.

My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.

I don't think there is a movie that I've been on that I wasn't sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.

We need to incorporate fashion into every element and institution, whether it be through designer-lecture series, photography exhibitions, or collaborative efforts between artists and designers.

I hired people who would help me, you know, like a director of photography who wouldn't blind me with jargon about ratios and pull-downs.