Quotes About Collaboration

With TV, your first draft just doesn't matter. It's a skeleton, and then there's draft after draft after draft, and so many other factors influence it. It's just a whole different kind of storytelling.

I want to be around people that are just as enthusiastic about the process and storytelling as I am.

Whenever two guys got together, you asked, 'What body part would you like to work?' In my case, it was the arm. Most guys wanted to feed me for that arm drag. We always believed in storytelling, so if I had the arm, the heel would get away for a moment - or heel his way away - and then I would get back to it.

I so wish to work with Sanjay Leela Bhansali because his creativity is of a different level. His vision, his style of storytelling, art and music... Everything mesmerizes me.

Drake, I'd like to collaborate with. He's a phenomenal lyricist. Probably the best rapper in the world at the moment. I love Kanye but there's something about Drake; he's more straight up, really clever and really poetic and metaphorical - I love that. He's just clever.

I have the version of me where I'm interviewing someone, where I definitely am the straight man, and I like to show a lot of respect to my guest and let them take the reins. I don't like to compete with my guests. I don't like to be funnier than my guests or get into a 'Who's wackier?' sort of thing.

My criteria is simple, I require fantastic actors who are ready to give their best and are easy to work with. I don't like people with a lot of baggage and rather those who are simple and straightforward and their agenda is to make a brilliant film.

My interest was always to do interdisciplinary work with space. I thought of architecture as one strand in a multimedia practice.

As you would expect, I come from a business background, and the idea that a finance director would be somewhat not working closely with the CEO of a company is very strange to anyone in the business world.

As we've learned in 1941, national emergencies can create strange bedfellows.

Relationships between writers and publishers are of course very strange and change all the time, rather like a see-saw.

A lot of hacking is playing with other people, you know, getting them to do strange things.

I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.

When you're improvising, you connect with people in a way you don't in normal life, strangely.

It's interesting that instead of having to get tighter and more restricted for a collaboration, strangely enough, from the beginning, we've actually been more confident that we could handle this.

I have always done films with friends rather than strangers.

I'm really interested in the collaborative thing. It's what makes it scary because you never know what it's going to end up like. But you hope. You put yourself in the hands of the best people you can find, and you're completely dependent on the kindness of strangers and their commitment. It's like this mutual delusion.

If you can get over this initial distrust that people have of strangers, you can do remarkable things.

I don't often meet with strangers and feel okay about collaborating with them.

In TV you are paired up with strangers and it could be a nightmare.

Global coherence demands a permanent strategic cooperation culture at all levels.

Of course the United States and Russia have different interests. Nevertheless, both are strategic partners.

It was a strategic plan, because prior to us doing 'Dum and Dummer,' me and Glock never had music together. So I planned it that way - because I always wanted Glock to take off and go big on his own, without a Dolph co-sign or Dolph feature.

So we believed that strategic alliances and partnerships were critical, and we did that for five years.