As Christians, we should be the best collaborators in the world. We should be quick to find unlikely allies and subversive friends, like Jesus did.
The future belongs to those who are creative collaborators
You have to know that your collaborators want you to make the movie that you want. Don't back down because you think it's nice to them. You need to have the film be the way that you want it.
If the sexual revolution has been a medical disaster, socially it has been a catastrophe. Why do the media not report and explore the tragic results of the sexual revolution? Because many are collaborators.
I think that in the minds of many, the press is being seen less and less as a neutral observer in the impeachment enterprise and more and more as participants, or even collaborators. On Media's Participation In Watergate
I've been very fortunate in my collaborators throughout my career.
It was difficult every ten days having a new director. I'm a real collaborator and, as an actor, I want to be directed. It's hard for me to shift gears.
Choosing a director is like choosing a therapist - you want somebody who is going to be a step or two ahead of you, who can interpret and articulate your intentions better than you can, with the benefit of objectivity. I look for a collaborator who is going to help bring to life, on stage, in three dimensions, what is on the page. I wouldn't want a director who imposes conceits or distrusts the text or who has prejudged the characters.
One of the major challenges facing creative individuals is that of building upon the continuity of human knowledge while achieving novel insights. ... On the one hand, to intensify an inquiry and develop a sense of commitment to a creative life, the learner needs models, teachers, and collaborators. On the other hand, the individual, while building upon the past, needs to transform it, and thus broaden his or her choices.
I'm a music storyteller and collaborator. I hear character, location, and story as music. For me a score is there to both heighten the story and to actually tell the story with the unique emotional and narrative powers of music.
There's nothing better than having a collaborator that you have a great shorthand with and a great comfort with who's shepherding the project along. I mean, that's the best thing that can happen in cinema where there's many cooks in the kitchen.
I think the power of the short film is incredibly underrated. It is way easier to get someone to watch a 15-minute film then a full-length feature. In those 15 minutes you have the opportunity to express your voice as an artist and hopefully connect with your audience. If you are trying to be a first time feature director then a short film that demonstrates you have a grasp on the themes and concepts of the movie you want to direct is a no-brainer. Whether they are collaborators or potential investors, filmmaking is a visual art form so you obviously need visuals to show them!
For me, writing is a solitary thing and a personal thing. And it's weird, because when you make something that requires money and collaborators, you have to talk about them. I don't enjoy that part of it. I still want to keep it to myself.
It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.
You always like to be the collaborator. I don't want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I'm very happy to just be the visual part of it, doing the visual part of the movie.
3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the cameras. So, 3D isn't for everybody.
I consider myself extremely lucky to have worked with so many great collaborators in my lifetime.
It is not only my laboratory and my place of work but also my home, so that on the 30th October I was able to share my happiness immediately with my students and collaborators and, at the same time, with my wife and family.
Having seen Justin's work on Bleak House, I knew that he'd be incredibly well prepared and interesting stylistically for this and that was definitely the case. It's very liberating for actors - and I can only speak for myself here - but he creates a very loose environment and he's a great collaborator.
The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.
When you have your chance to make a film, don't focus on pleasing everyone. I think the goal is to live in that sweet spot where you focus on making a good film and you have fun with your collaborators, but you don't waste your energy chasing approval every which way. When you have a vision and a good story and you've managed to raise funding, it is your approval as a director that everyone should be seeking. It's very simple.
The spirit of Dr. [Martin Luther] King and the thousands of people he worked with set the races on a different course in the United States... In that same spirit, we must have the courage - and teach our students the courage - to be bearers to the world of this transforming love, co-creators of a more deeply human world, collaborators with Christ in the building of God's Kingdom.
For a producer, you want to be in L.A. You want to be close to the action, and in L.A. there are always singers, artists, songwriters, collaborators and other producers. It's easy to get access to all that, which gives you more opportunity to work records.
North and south must also adopt measures to arrest the growing phenomenon of illegal capital flight and the repatriation of illicit wealth siphoned abroad by corrupt political leaders and their collaborators back to their countries of origin.
I am convinced that in the arts, committees are useless. What is necessary are people like Karajan, [fellow recording producer John] Culshaw and me; we know not only how to achieve the best artistic results but how to attract the public and carry out the whole operation with carefully chosen collaborators. Democracy is fatal for the arts; it leads only to chaos or the achievement of new and lower common denominators of quality.
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