Heinrich Heine Quotes

I was excited by what my painter friends were doing, and they seemed to be interested in our poetry too, and that was a wonderful little, fizzy sort of world.

There's an attitude that I have where I bring the art to the table and the writer brings the writing to the table, but neither of us brings the story to the table. The story is something that only happens with the combination of both of us.

To me, the more dialogue amongst creative types, the better. It keeps people on their toes, and competition is healthy.

I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.

This adoration of an artist as a lone genius is quite misled, I think, because they are very much part of their time and their community.

I feel like there is a different, new energy when I collaborate with a living artist, whether it be a composer, designer, lighting designer. I love that process.

Performa's founder and prime mover, Roselee Goldberg, has great instincts for which artists might collaborate well together.

My understanding of the creative process is simply that all cultures and all concerns meet at a certain point, the human point in which everything is related to one another. That has been my creative experience. I never know who's influencing me at any time.

Great art inspires great art.

When you do music, your friends are writers, actors, painters. It's all under the same roof. So anything creative is interesting to me.

I see my actors as my collaborators.

If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.

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.

Whenever I work with people who are nonclassical artists, I kind of get a kick in the pants. I think, 'How can I apply what I do to their music?'

To keep on collaborating with my friends from Cecile Believe and FluCt who inspire me a lot and who are part of the team putting this whole show together. I'm excited to have that kind of play.

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

The poet and the painter are only truly great by the mutual influences of their studies, and the jealousy of glory has only produced an idle contest.

All the arts are brothers; each one is a light to the others.

I always wanted a family environment, a community where a creator like myself could connect and vibe with other creators without feeling competitive.

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

Cross-pollination and 'contamination' is really important to the health of fiction, and sometimes it's a literal conversation, too, in that writers who might never otherwise meet and talk do so because of our anthologies.

To work with the same director is a great feeling.

It is interesting to see what other designers do, and not work in a vacuum.

At Pixar, of course, we have all these people, and they're just used to our process now where it's a discussion; it's a discovery. It's not individual artists going and fussing off by themselves in isolation and then handing their work in.

When you think back in history about producers and artists or writers who've had good synergy, a lot of times they date, or they're married, or there's a friendship and a kinship.