Rhianna Pratchett Quotes

I think 'Overlord' has definitely benefited because I work with every single level designer, and working where we have space to tell the story. That's what it's all about - getting writers and storytellers involved in the team and being a back and forth process.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

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.

One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors, and the characters start to come to life because you start to collaborate.

I'm very humble in terms of knowing that television is an extraordinary collaborative medium and that one person alone cannot make a great TV show.

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

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

It's much like writing a screenplay with someone else and that's how we view it, I think.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

Film is a collaborative art form. If you're not being collaborative, you probably shouldn't be working in film. You don't do it on your own. People who understand that, cultivate that, get the best results.

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.

Writing a comic book series, you're so reliant on whoever the artist is. It truly is collaboration.

There's a fairy story called the 'The Shoemaker and the Elves' where this old cobbler keeps leaving leather out overnight and wakes up the next day, and there's a new pair of shoes. Co-authoring is a little like that. You send off the manuscript to your partner, and a few days later, you check your email, and hey, there's more book in here!

There's a synergy with Dre and me.

Every film is a human encounter. It's people trying to collaborate and create something together.

It's good to work with a writer-director.

In my life, it's always been about who I'm going to collaborate with. Less important to me is what the subject is.

The Duffer Brothers are so attentive to story and detail while being wildly respectful of me and what I bring to the process.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

I've had the tremendous fortune to work on games like 'Life is Strange' and 'Horizon Zero Dawn', where there was a lot of collaboration between me and the developers.

In music, as you develop a theme or musical idea, there are many points at which directions must be decided, and at any time I was in the throes of debate with myself, harmonically or melodically, I would turn to Billy Strayhorn. We would talk, and then the whole world would come into focus. The steady hand of his good judgment pointed to the clear way that was fitting for us. He was not, as he was often referred to by many, my alter ego. Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine.

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.

If the chemistry between me and the artist is good, then that's half the battle.

If a script comes together, and you end up liking the people who are part of it, that's when you can make magic happen. It's a huge combination of trying to find something you think you can deliver on and a director you think you can collaborate with to make a good picture.

The wonderful thing about rock music is even if you hate the other person, sometimes you need him more, you know. In other words if he's the guy that made that sound, he's the guy that made that sound, and without that guy making that sound, you don't have a band, you know.