Natalie Prass Quotes

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.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

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

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.

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

Sometimes the creating that we do is creating a platform that allows other creative people to pitch in.

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.

I believe the better I can write on my own, the better I can be of service in a co-write. The big thing with a co-write is trust, and it's not so much what you get the first time you sit down with that writer. It's the relationship that you build that you're in. So you can trust throwing out all your ideas and how strong you think they might be.

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.

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.

Nothing's ever easy about composing for other people's projects, but I like it. I've been lucky to have worked with adventurous directors who trust me.

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.

I'd love to get in a room with Kanye at some point, have a conversation, and see if something cooks up.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

When I'm a part of someone else's creative process, it's all about facilitating their ideas and hopefully bringing their perspective and making it a part of a song.

I believe that if creative people are open and generous enough when working with each other, a lot more can be learned and achieved by both parties. That's what it's all about, trying to produce the best work possible on any given project.

Sometimes two artists wanna work together, but it doesn't mean it's gonna happen, because you have to find the right idea.

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

'Where The Wild Things Are,' I think I could have written on my own. When I brought Dave Eggers on, I already had 60 pages of notes. I technically could have, but I don't think I was ready to. I needed him to be there and help me.

I believe that a writer learns from every story he writes, and when you try different things, you learn different lessons. Working with other writers, as in Hollywood or in a shared world series, will also strengthen your skills, by exposing you to new ways of seeing the work, and different approaches to certain creative challenges.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

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.

The environment in a writer's room, I've really come to feel, should be some form of democracy.