Joseph Kanon Quotes

I feel that the critic and music director should have such a good relationship they can pick up the phone and call each other any time.

I never hand in a book until it's completed. Richard Jackson then reads it and asks me to clarify murky points. We work very well together. He knows how hard to push, and I know how hard to push back. He's the only person who can criticize my work without me throwing a hissy fit.

Authors can get an attitude of us-against-them when it comes to publishers, but learning how authors and editors can work together taught me to look at my work in a different way and to make that work as solid as possible before it ever goes to the publisher.

When you have somebody writing or acting for you, you have to be free to have them hate you so you can get your ideas across without worrying.

I believe in collaboration. I think that is the most entertaining and effective way to write for me, personally.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

Well, one of the best things is workin' with Muddy.

Having a connection and chemistry with a director is really key.

Lance Barrow's a great producer and we work together exceptionally well.

Every time you work with a new co-star, a whole new dynamic emerges.

Collaboration is about listening to someone else and adding your own feelings about that thought.

Be collaborative. I've had some of my best experiences with directors who were able to sit down and have a conversation and ask me what I thought.

The worst thing when you're working is to say, 'I have a question,' and the other person goes, 'No! This is what it is.' That kind of rigidity is very challenging because musicals are constantly mutating.

Before I collaborate, it's important that I have a conversation about what I care about before we make anything, so that it's very clear.

On any collaboration, you want to respect your music and the other's music.

I've worked with Farah Khan who is a competent woman director, and Farah and I had a great professional equation and we are still best of friends.

I am writing things on my own, but I really believe co-writing makes you a better writer.

Getting a beginner publishing deal really helped me gain the skills. I just kept writing and writing. You just take everything out of life and turn it into an idea or a melody or a song and find the best writers you can to write with that fit you and know what you want to do.

Collaboration is all about rewriting and rewriting and rewriting and helping each other to constantly improve a piece. And, it's also about spurring each other on to doing really great, hard work - it's easier to do it in a collaboration than on your own.

When you're working with an actor who's prepared and brings it when you need it, it's just a very validating creative experience.

Every book is its own experience, the writing of it.

I have worked with Asin earlier in 'Housefull 2.' We had a good time working together.

I want to write just as much as Kanye may have for whomever Kanye has written for.

Something I learned early on in my career is there's no use trying to fool anybody about what you want to do on a project where there are other people involved, rather than your own thing.

I've realised that my strength is writing around people.