Carine Roitfeld Quotes

I wouldn't mind collaborating with anybody, but I don't want to design anything, I'm not a fashion designer.

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

Every time you get the chance to work with somebody you admire and would like to collaborate with... it feels like the best opportunity that's ever come your way, whether that's in fringe theatre or a really big-budget Hollywood movie.

We could ask artists from abroad to come in too, so that there could be a mixing and matching of skills from Europe, America and here which would widen our world.

That excites me, working with really excellent people, be it wonderful directors or actors or cinematographers and especially writers. My work life is going to a set and having these great experiences and coming home shifted by them.

Media Asia has great partners in China, Japan and Hollywood.

We still have a lot of international partner modules that need to get up there to make it truly the international structure that it will be, and that's highly important; we need to get to where the crew size is bigger.

I'll say this, I'm no stranger to working with a foreign cast, foreign directors, that sort of thing. I love it, because I think that when you have people from different countries, it sort of brings everyone together, it's more of a worldly film.

I read a blog about this young filmmaker in the Philippines who made a short film, and one of the characters in the film reads my novel and then starts discussing the novel with someone. The idea that my book can inspire another artist and be part of that other artist's work... that's the reason I write.

When it's a sharing and improvisational meeting, where you're riffing off other people's ideas, that actually can be productive.

Science is an international enterprise where discoveries in one part of the world are useful in other parts.

Whenever I work with different artists, I expand as a song writer, as a producer, and I always want to try and find the bridge between my world and their world.

I was lucky that audiences in Mexico liked my work. I was even luckier when I got to do movies and plays with my brothers.

Abroad, they have covered pretty much all subjects, explored every possibility, every twist. So similarities between ideas you have and those filmed abroad are quite possible.

I didn't want to just work within Hollywood when I started a production company. I wanted to be able to collaborate with great artists from all over the world.

In the big experiments, Atlas and CMS, we have something like 3,000 scientists each, and over 60 nationalities.

I find that it's nice to work with somebody and spin off on someone else's feelings. You get a little jaded by yourself.

I want to co-produce again.

I like a lot of international people. Julie Taymore, the American director - she's one of the most exciting directors I've seen.

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.

There's a constant dialogue going back and forth between the filmmakers and the producers.

This idea of collaborating with designers - that's something I can identify with.

Any time I get a chance to work with artists that make me inspired and learn new stuff about music - every chance I get, I'll take.

British drama can compete with America creatively. But the two systems are very different.

I think it's important that your work is in conversation with artists in your community.