Lin-Manuel Miranda Quotes

Screenplays are not works of art. They are invitations to others to collaborate on a work of art.

Some of the best art in the world is collaborative, a mix of voices that are stronger together than separate. Take the Beatles, for example. Or every great movie ever made. We like to say they're the director's vision, but really, they're huge collaborations between directors, writers, actors, even producers.

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

I'm very much of the opinion that theatre is a collective art form, not just one person's vision.

It takes two to paint. One to paint, the other to stand by with an axe to kill him before he spoils it.

Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.

I've done art on my own, and I've also collaborated with other people to make art. And collaborating with other people is always interesting because you end up doing things you probably wouldn't do otherwise.

It's a product of two poles - there's the pole of the one who makes the work, and the pole of the one who looks at it. I give the latter as much importance as the one who makes it.

When a sketch comes into this three-dimensional form and everybody contributes, it's really fantastic.

I believe everything creative is somewhat collaborative.

All directors have their strengths and weaknesses, as all actors have, and all artists. What you try to do is complete the relationship and take care of the stuff that the director won't take care of.

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.

Musicals are very collaborative. Unless you find somebody who wants to do something with you and has equal commitment, it's not going to work.

I feel that performing is its own art form, and recording is its own art form, and writing is its own art form, and that they all can happen simultaneously but at different paces.

Any time you get to work with creative people - animators, actors, directors and producers, all of this - it helps to refine what tools you'll need moving forward.

My favorite thing as a performing artist is to get a pile of raw material from a writer who says, 'Will you help me make this real?' There's nothing like starting from scratch.

The wonderful thing about theater is that it has so many people involved in the creation of it. The worst thing about theater is that it has so many people involved in the creation of it. That dynamic is thrilling and challenging every time you make a show.

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.

The concept of making a movie in which the director dictates is kind of exotic - and absolutely not truthful. Directing means allowing a great deal of collaboration and listening and having the ability to change your mind.

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

Filmmaking is a very collaborative art. Unlike a painting that an artist paints sitting by himself, as a director, you have to work with a team.

I've done some collaborations which have ended up like Chinese whispers, but the most successful was with Tilda Swinton... Together we transcended our previous work and made something better together than we could have done apart.

Trust is everything between two artists, or between subject and artist. You have to have trust or nothing good will come out of it.

Anybody who knows how to make a good movie, knows that it's a collaborative undertaking. To deny that its really dangerous.

When I just write something, it's usually because I love it, I love the material, but I feel like I really need a creative partner to crack it. And I certainly need and have a lot of creative partners as a director.