Peter Marino Quotes

Architecture is by definition a very collaborative process.

'Fowl Space' was a lovechild of boredom. While in class, two of the developers started passing designs back and forth. Somewhere in the middle of all that ink and crumpled paper, a chicken in a space helmet was born and thus we have 'Fowl Space.'

I have people working together, doing different things: architecture, art installation, photography, publishing, and curatorial works and design.

I get really excited about collaborating because by the end of the day you have something that you never thought you'd have. I was really happy about writing "Bad News" and a bunch of other stuff on the record that came out so well.

To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.

Those who look for the laws of Nature as a support for their new works collaborate with the creator.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

I like messing around, and I like working with artists who I respect.

Everyone who makes music is a good collaborator at their foundation because in order to make music, you have to connect to it in a way that other people can't.

My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.

Sometimes I get a little tired of it. But you know, what a privilege, to get tired of working with Ingmar Bergman.

I have my own office, and I'm there during the evenings and weekends. But during the week, I'm sitting in the middle of my studio, talking with everybody, deciding together every detail, every pallette, every yarn, every colour.

The merging of science and art is at the core of what we do.

I actually like the collaboration of working with different artists.

When the director has a vision for a piece that I've never heard before, and they can back that up with visuals, and they talk a good game, I get really interested in the world that they're trying to create.

Magicians are typically introverted; they don't tend to work with others, but I work with software programmers, composers, designers, so it's a very diverse group and the result is always more interesting than something I could have done by myself.

You can be playing a line some way and the director wants you to change that, or you can disagree. But I always think that the creative conversation between director and actor is what leads to good work.

It's like a cast of actors; you're all working together closely under pressure to produce something everyday. And when we put up an issue, it's like the curtains opening on a new play. I really like that daily sense of surprise.

What goes on between the actor and director is sacred.

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.

I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.

Well, I worked with lots of different artists, of course.

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

The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.

I'm very, very open to experimenting with different people and trying to find different methods of writing and making music.