Bruce McCulloch Quotes

It is hard for 2 creative people to work together for that length of time and not fall out.

Sometimes two artists wanna work together, but it doesn't mean it's gonna happen, because you have to find the right idea.

In an ideal world, as a director, you usually wish you could do your own thing and not have to take anyone else's point of view into account, but occasionally you work with someone like Robyn, who brings a new set of ideas to the table, and the whole ends up much greater than the sum of the parts.

I work very closely with my co-writer, Efthimis Filippou. Ideas either start from him or me, and then the other one develops it, and it's a constant conversation.

I like working with writer-directors because you can solve problems right there.

The real drawback when you write with a partner is that where you want it to go and where they want it to go is similar, but not exactly lined up, and that's where it's going to lead you into trouble.

Songwriting is a give-and-take process, and it can lead to some good, healthy debates.

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

Certainly when, you know, you put a lot of creative people together, there's ego and tension and all that stuff comes into play. But on the flip side, there's a lot of camaraderie and closeness.

Three writers together would be a nightmare of obstreperous self-consciousness.

As to the differences between game work and novel writing, well, obviously the former is a lot less lonely - you're in and out of meetings all the time, bouncing stuff back and forth with the level designers, the art department, the animation team, so forth.

Working with friends isn't easy - the nature of an artistic project means it's about two strong visions colliding and a bit of mental wrestling.

I want to interact creatively with the directors I work with - it's a thrilling way to work.

When you have an author and an auteur, it's a difficult and challenging relationship.

I just can't say enough about the actors having faith and trust in the writers and the writers having faith and trust in the actors.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

As a writer, you're really in control of almost everything. That's not the case in TV. You have to be prepared to work with a lot of people to make something happen, and you got to be prepared, at least in the beginning, to not be too good at your specific task.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

When I'm a part of someone else's creative process, it's all about facilitating their ideas and hopefully bringing their perspective and making it a part of a song.

I think getting the rest of the guys in the band to write is important.

A lot of actors never talk to other actors about how they're doing things, or why. I think it's important to share the way you're thinking.

When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

I never co-write. I've tried it before, and I just can't do it.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.