Quotes About Collaboration

My favorite part of the film business is the research part, with the access we get from people who are excited to be involved and the things we get to see and do, which we're not normally going to get in everyday life.

In film, normally what happens is that not many people work more than once. Normally, it breaks couples. It doesn't make them.

Not everything, always, is about your performance. It's about the team performance. When the team is not playing well, then normally, you will not play well. It's all about the team.

I don't want to conquer North America. I only want a share.

We are also looking to Canada as we continue to integrate the North American energy market.

Men, once enemies, are now jointly governing in Northern Ireland. And although there have been several hitches, by and large it's working well.

Acting isn't always about the amount of talent you have, or your ability to cry on command. The point is, how well can you take direction? How well can you put aside your own ideas or ego and listen to the ideas of the director and the people above you, while not giving up the passion and drive of that character?

I'm trying to get every experience possible in a studio environment, because I want to be comfortable there. There are people that I dream of working with, and I don't want to walk into that situation feeling like I'm not good enough.

I'm not interested in the mad race. I just like working with good people.

I am not interested in individual glory.

I was never in an improv group. But when I went to school, we would do it all day long with friends, not knowing what it was called.

When you're in a play, 50 percent is the genius of the actor, 50 percent is the genius of the author. When a mime is not perfect, you see nothing.

You know, you work on things with people if they're not perfect - no one is.

There isn't one album that says 'Hall & Oates.' It's always 'Daryl Hall and John Oates.' From the very beginning. People never note that. The idea of 'Hall & Oates,' this two-headed monster, this thing, is not anything we've ever wanted or liked.

You try to work with the director and your fellow actors to get somewhere, but other people are the judge of whether you hit that note right.

People say, 'Oh, you're doing the job of journalists.' I think it's very important to note that we can't do our job without journalists. Journalists can do their job without late-night comedians. They'd be just fine without us. But we, of course, use their work every day to build our pieces.

I started my journey in Bollywood with a Rajkumar Santoshi film. Then I worked with noted directors like J P Dutta, Prakash Jha and Ketan Mehta.

Once you start to play together, vibing off each other in the scene, it's not just the notes - it's the music. The script might be the notes playing, but we're making it music.

I read the script and try not to bring anything personal into it. I make notes, talk to the director and we decide what kinds of shades should be in the character.

David and I got cut out the editing process on that. We were able to affect it more than not. We sent in our notes, we were able to see cuts. We weren't allowed to see dailies and we weren't allowed to sit in the editing room and just work.

In the best possible scenario, whenever you get notes from people, they're good notes, and they see things that you wouldn't have seen otherwise, and they make you a better writer.

Conducting is about communication. You don't play any notes, but you communicate with the musicians.

It's not about the individual notes. It's about the energy.

I've had situations before where there are more people giving notes than there are writers on the show.