Quotes About Collaboration

I have worked with Amitabh Bachchan in 'Pink' and 'Piku.' As soon as one film gets over, he is behind me, asking 'Which is the next film you are going to do with me?'

In any situation in order to excel and reach the pinnacle with a group of people, there have to be sacrifices.

I've always had a fascination with pirates. You know, I've written a song completely inspired by I want this to feel like pirates, you know, fighting together, made a music video about it, yada, yada.

I would say it's not as hard as writing, because when you're a writer, you walk right into the pit all by yourself, but when you're a director, there are at least 80 people who scream, 'Don't do that!' when you make a mistake.

We have a lot of guys from different backgrounds in pit crews and even in the front offices of NASCAR and race teams.

I have a very good relationship with my peers both on and off the pitch.

Everything on the pitch is to help the team.

I try to be a player who is there for the team, even off the pitch.

At the end of the day, it is football, and we are all important on the pitch. We must play as a team and not listen to what others are saying.

I always want to do whatever it takes - whatever I possibly can - to help my team-mates on the pitch.

Communication is important, and when you have an understanding with someone on the pitch, it is the most important thing.

I started rapping towards the end of middle school. In high school, with a lot of my friends, we would make beats and just start rapping - beating on the wall, beating on the table and freestyling.

Sometimes when you do a part, the wall between you and the characters can be very porous. You can sort of move in and out of your character's persona and being. And that just couldn't happen on this one because of working with him.

The biggest surprise to people is that I sang background on Pink Floyd's 'The Wall' album.

There are a lot of good ideas that could benefit from big media. You have a lot of companies that hit a wall and can't get beyond a certain level. They need the infrastructure and distribution of a large company.

Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.'

I loved working on Wall Street. I loved the meritocracy of it and the camaraderie of the trading floor.

Vince McMahon can end up in a federal lawsuit with you where there is mudslinging back and forth that makes the front page of 'The Wall Street Journal,' and if tomorrow he figures out a way where the company can benefit from your involvement, you will be at a negotiating table with him at lunch.

I really value the skill and sensitivity of my collaborators, and I am really interested in - perhaps more so than if I was a male director - the hair, makeup and the textures of the fabric and the wallpaper.

What I do is the opposite of building walls. I build bridges. A bridge is something that connects instead of separating.

The walls between art and engineering exist only in our minds.

Working on 'The Larry Sanders Show,' everything was there on the paper and in the room and within the four walls when all of us were together. It was just all there.

The office has a really fun 'community' feel, kind of like Imgur itself. The things that you see that are on the walls and on our desks came directly from our users.

The audience plays a huge part in how a piece will actually form. They really allow the performers to walk a tightrope in a way that never seems to happen in the privacy of your own four walls. I'm listening to the audience, and they're listening to me.