Cornelia Parker Quotes

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.

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.

I think when people are jumping on top of each other's ideas, it elevates it a lot more than me going into the studio and working on something all by myself for a while.

As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it is.

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

I dream of a collaboration that would finally be total, in which the librettist would often think as a composer and the composer as a librettist.

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

I actually like the collaboration of working with different artists.

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.

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

The relationship between an actor and a director is like a love story between a man and a woman. I'm sure sometimes I'm the woman.

I believe everything creative is somewhat collaborative. If you're a painter and someone stretches your canvas, it was collaborative on some level.

I believe everything creative is somewhat collaborative.

I see my actors as my collaborators.

To work with the same director is a great feeling.

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.

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

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.

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

I was attracted to Joe right away. He was and is one of the greatest cartoon artists I've ever met. I was able to do the timing, and Joe with his draftsmanship could make the storyboards. There were things I could do that he couldn't and vice versa.

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.

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.

To keep on collaborating with my friends from Cecile Believe and FluCt who inspire me a lot and who are part of the team putting this whole show together. I'm excited to have that kind of play.

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.