Edwin Catmull Quotes

In the creative sense, I'm looking forward to collaborating with people I have mutual respect for to create some really good work.

To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.

Magicians are typically introverted; they don't tend to work with others, but I work with software programmers, composers, designers, so it's a very diverse group and the result is always more interesting than something I could have done by myself.

I believe everything creative is somewhat collaborative. If you're a painter and someone stretches your canvas, it was collaborative on some level.

I could never have done what I did without being involved with Lindsay Kemp's company.

If I'm talking to a photographer, I'm talking to a stylist, I'm talking to a makeup artist, we're kind of creating and collaborating and making something that is artwork and is special and is different.

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

I always loved doing a movie with Daldry. That's always a huge factor for me.

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.

A great movie evolves when everybody has the same vision in their heads.

On a film, you start to get closer and closer with the people you're working with, and it becomes like this circus act or this travelling family.

You can never tell when an artist really will take up someone's work and work with it happily.

Fashion is much more collaborative than one might think. You have to have an idea and vision, and you have to communicate that vision to a team of people, and you have to create an environment that allows those people to give the best that they can give.

I depend on good editors and a good director.

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.

I love mixing amateurs and professionals.

I hardly ever go into the studio with a work complete in my head. It emerges from communal activity.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I actually like the collaboration of working with different artists.

In truth, I have always been amazed by a group of people who all work toward putting one person's vision forward - that's an interesting story for me.

My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.

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

The great fun for me is these collaborators. I'm nothing by myself. Being with these people, whether it's the 'Homeland' cast or stage collaborators, they make you everything you are. They make you come to work. They make you be alive.

As far as the mechanics go, working with other people on received ideas was for me a very interesting technical problem. I can't say that any of my collaborations engaged my heart, but they engaged the craftsman in me.

I don't really have a dream collaboration.