Quotes About Collaboration

I got to play with people like Molly Shannon and Wanda Skyes. Going back and forth with people like that is just an extra added boost. Who doesn't want to play catch with Molly Shannon?

I think of workshopping as a way to read your own work through the eyes of others - a scene that you write gets refracted by those around you, and suddenly you have several different readings of it, each with a different momentum for how it might be retooled or reshaped.

I feel like I've gotten so lucky and gotten to do such cool things with such cool folks. It's really great. You definitely want that momentum to keep going, for sure.

I don't want to be known as just a 'Dance Moms' competitor. I'd really like to be known for all of Sia's work, too.

Now I belong to this fantastic group called The London Writers Salon, which runs Monday to Friday with sessions in London, New York and L.A. and you can log in to them all and basically write in the company of 300 other people, with nobody chatting.

In terms of my wife, she obviously is a Monday nighter and doing very well. I watch her, I watch when she's on, and kinda give her feedback when she asks for it and she'll watch when I am on and she'll kinda give me feedback of what she thought was good and bad.

Every time I look through the lens with Denzel, I'm like a 12-year-old kid. It's hard for me to look at the monitor because the fun is in watching him.

Jazz is very much a part of my life. I work with the Thelonious Monk Institute and do the artwork for their program every year.

Miles Davis and Felonious Monk, they're both great artists who enhance things.

I always wanted to play a monster, and I also wanted to work with Wes Craven.

The Monsters & Strangerz, I love them so much.

Every year that I go out on tour, I think about all the craziest ideas that would be great to go out with, and I think, 'I should see if Jeff Beck wants to join my band for a month or something.'

We served on the editorial board of a literary monthly called Face in 1968 and 1969. He was a young writer, and I was also interested in broad cultural issues. We agreed on all major issues and became friends.

We'll probably be working on another album in the next few months here.

They have very good individual players, but they need the collective game. And they still do not have it although there are now only six months left to go.

My director, Monty Marsh, is really awesome - I've been working with him for years now.

With Ferrari sometimes, you win or you lose depending on what the mood of the team in general, of the group in general.

If I bring anything to the Coen Brothers' films, it's my ability to change tack and create a different mood from film to film.

During script narrations, if I feel the screenplay mood jumping abruptly, I tell the director, and they work on it.

I have the most respect for Rick. You're always going to see a Shameik Moore and Rick Famuyiwa film.

Where people work and their environment is becoming more and more important, especially for millennials.

I feel very, very grateful. I'm a lucky guy, you need a lot of luck, and then when the cameras roll, you have to have this group of writers, directors, and actors that just gel, and it seems to literally be happening more and more.

I'm learning more and more to share creativity with the crew and actors. A film crew is more powerful if you listen to them, but it does make my job more tough because I have to listen.

I'm finding that I'm working with more and more Latino artists, and that's exciting.