Alex Lifeson Quotes

There's a synergy with Dre and me.

I want to co-produce again.

It's necessary to start most work alone. But I'm tickled to death when I can pull somebody in or join someone, whether it's borrowing poetry or traveling with an associate.

If you can find collaborators whose strengths compliment your own, the result can be more than the sum of its authors.

I'm down to work with anyone as long as it's an organic collaboration.

What do I look for in a collaborator? Pretty much anyone who asks me to do something.

I want to collaborate with different artists.

I only collaborate with the people I rock with in life, period. I rock with people where I really respect their craft and respect what they're doing. That's what collaboration should start from.

I love creating partnerships; I love not having to bear the entire burden of the creative storytelling, and when I have unions like with George Lucas and Peter Jackson, it's really great; not only do I benefit, but the project is better for it.

It is not only one person's work, it's really a partnership and collaboration during all these years.

The great thing about the Wilburys was that none of us had to take the heat by ourselves. I was just a member of the band. Nobody felt like he was above anybody else. We had such a good time.

Working with Candy Bergen was really wonderful.

My wife, Jill, and I have an incredibly close working relationship, and an incredibly happy married one. We met through work. I was the world's worst advertising copywriter. She had the misfortune to be my account director, so from the very start she was my boss, and she still is.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

I am hunting for people who would be a good colleague or a teammate, not someone who works for me.

Collaboration is something I missed at one point in The Shins. I really wanted to have that experience again, you know, not having everything rely on me. I wanted to have a partner.

This was all very new to me and I did not want to ruin his film! So we worked hard on that basis of confidence that is needed to collaborate comfortably.

I think most co-directors and co-writers just hold hands.

We come from Second City where you're taught if you make your fellow stage partner look good, that makes you look good.

My thing is you're only as good as the people you work with. I've been blessed to work with the Wayanses and Eddie Murphy and Adam Sandler and Chris Rock, and it makes you better.

Working with Christopher McQuarrie and working with Tom Cruise; two people who are just so good at what they do, it just makes you better.

I see my actors as my collaborators.

We've always shared everything - writing credits, all the royalties - and there's no real leader because if there was one, we'd immediately depose them.

Actors and directors work on things together. That's how I like to work, anyway. I don't want to be told what to do. I want to share it with someone and work it out together.

I've written with people who aren't like me, then I've written with people who totally get it. It's like a blind date, and you never know what's going to happen. But it's really cool because they learn from you, and you learn a little bit from them. And sometimes it works out, and sometimes it doesn't.