Phillip Phillips Quotes

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.

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

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

Brian Eno developed systems to keep himself on edge and to keep himself in a position where he's generating ideas.

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.

I'm definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers. I know that there's some actors who like to be left alone, they like to be very independent, but I actually really enjoy the teamwork.

Most directors that I've worked with - I've worked with before, especially in Holland - and they know that I'm somebody who talks and asks, and talks, and talks, and talks and questions and turns things around. I'm like a little cat, walking around my little nest until I find my place.

Before I ever put anything on paper, Jerry and I would talk back and forth.

I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.

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.

That first writing session, what Dan Hill calls a creative blind date, is always a real challenge, and you bring that back to your partner when you return to writing with them.

When a relationship with a director is really working, you have the same idea at the same time. You go, 'Look, this isn't working,' and they'll go, 'I know it's not working. What are we gonna do?' And you go and try something else.

I see my actors as my collaborators.

I have two or three guys that I'm really close to. We have a great friendship, and I think that helps our songwriting relationship. It's hard to start... with new people and cover the ground that I've covered with those guys.

My idea of artistry has always been 'try everything until you find out what works.'

One of the things that is particularly precious about working at Apple is that many of us on the design team have worked together for 15-plus years, and there's a wonderful thing about learning as a group. A fundamental part of that is making mistakes together.

I suppose there are many, but I cannot imagine ever having a more perfect collaboration than that which Penn-san and I shared. It was based upon mutual trust, respect, and a desire to have our own work pushed to new places. And it always resulted in delight.

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.

When you think back in history about producers and artists or writers who've had good synergy, a lot of times they date, or they're married, or there's a friendship and a kinship.

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.

There's a synergy with Dre and me.

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.

Part of being the successful Pixar is that we will take risks on teams and ideas, and some of them won't work out. We only lose from this if we don't respond to the failures. If we respond, and we think it through and figure out how to move ahead, then we're learning from it. That's what Pixar is.

When you're working with a producer, there has to be chemistry.