Justin Peck Quotes

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.

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

I see my actors as my collaborators.

When I work with Future, it's almost like a work of art.

I'm not one of those playwrights who says, 'Show up, hit your marks, and don't talk to me!' I always want to hear from the other artists involved, whether it's the director, the lighting tech, or the actors.

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.

Actors and directors work on things together. That's how I like to work, anyway. I don't want to be told what to do. I want to share it with someone and work it out together.

My collaborations tend to be pretty organic. It starts off with me being a fan first.

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.

Joel Little and I have this certain chemistry we have when we work together.

From an artist's point of view, I always want to work with the writers I admire.

I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you'd come up with something exponentially better.

I actually like the collaboration of working with different artists.

When you're in a creative flow with somebody - and I had this back in architecture school - you're just so passionate about what you're doing, and if that other person is just as passionate, you'll be madly in love with them. It's just that thrill of creating.

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.

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

To work with the same director is a great feeling.

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.

That's what I've always wanted to do - work with my favorite writers and make something from scratch with them that we can feel like didn't exist before we came in the room.

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.

Having a connection and chemistry with a director is really key.

There's a synergy with Dre and me.

I've always liked playing with somebody else and collaborating, just to get out of my own head all the time. Everybody does, but artists especially, we torture ourselves. So it's good for me to immerse myself in somebody else's work.

As in a love affair, two creative people can destroy themselves trying to recapture that youthful spirit, at twenty-one or twenty-four, of creating without even being aware of how it's happening

I've done collaborations in all my movies, and I think it's part of what I enjoy about the process. This kind of intimacy that you create. Because it becomes very intimate.