Peter Zumthor Quotes

Despite the persistent image of the architect as a heroic loner erecting monumental edifices through sheer force of will, the building art has always been a highly cooperative enterprise.

Filmmaking is not a one man show. It is not like I'm thinking something and they are expressing it. I try to pull the actor in and together we try to get the expression. It is not my thinking alone, it is our thinking. The actor also becomes a part of the thought process.

Working off one genius sketch is not the way great architecture should be made.

If business doesn't thrive, it hurts America. We need improved relations, more collaboration, more thought and more consistency as we go about trying to make sure we have the best country in the world. Not scapegoating and finger-pointing.

The transactions between me and the people that I photograph are very, very collaborative.

Honestly, I think most directors are about, 'Let's do the most fun and effective thing here and figure out how afterwards.'

I love trying to forge a contract between creator and audience in which we are able to meet halfway, each injecting a part of our own experiences into a story that's being told.

I love working with women directors because of their emotional functionality and can undeniably connect with them on a fairly personal level.

There's nothing like having some healthy competition. We really strive to think outside the box by taking the standard approach the then twisting it a little, all the while trying something new.

We have to be about finding long-term solutions to our biggest challenges.

I don't care if it's Dr. Dre or Dr. Luke or Brian Eno. When you're in a studio and making music together, it becomes pretty apparent if you see eye to eye.

Meeting the challenges of the future requires a state that can think and act strategically.

It's a lot easier to figure out how to scale something that doesn't feel like it would scale than it is to figure out what is actually gonna work. You're much better off going after something that will work that doesn't scale, then trying to figure how to scale it up, than you are trying to figure it all out.

Music has been more a solitary, creative thing. The acting side of things and working in movies has helped me collaboratively with music in terms of helping me get ideas across to other people and making it more of a team efforts.

I think when I work with artists, I'm at their service, and I'm at the service of either their vision or a vision that we find together and we share.

You are not always going to be able to knock it and run. You are going to have to use the other foot, mix things up, use the brain.

We will face the challenges head on. We will work with both parties, across the aisle, to make our state better.

I tend to get hired because the filmmakers like what I do, so there's usually not that much conflict about the direction.

If I'm writing a tune with someone I'm making sure it's what they wanna say and it's articulating what they have to share.

You can be both progressive and want to get things done - they're not mutually exclusive and that's what I bring.

I just kind of talk about what's happening in my life and it's kind of like a therapy session. Usually something good comes out of that. Or sometimes other writers will come to me with ideas and then I'll put my own spin on it. It's usually really collaborative and open and it's very therapeutic for me as well.

I have been fortunate to collaborate with people who have been open to discussion. If I tell them something, they have always explained to me why they want it the other way.

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 haven't been a director-for-hire for any project. I work with people who appreciate that, understand that, and want to work that way.

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