Richard Edelman Quotes

The creative core of New York has never been native New Yorkers; it's people from all over the world.

Abroad, they have covered pretty much all subjects, explored every possibility, every twist. So similarities between ideas you have and those filmed abroad are quite possible.

There is so much to learn that I find the entire debate that Pakistani actors shouldn't work elsewhere senseless. By working in other countries, we're able to move out of our comfort zones, learn more, and bring that back to our own industry.

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

It just makes you a better artist when you're with people who are great artists themselves. Being around Kanye, soaking up all the knowledge, all the stuff he got.

You cannot limit yourself to one area of specialized craft. Instead, regardless of craft, you have to charge all forms of expression that lead to the community, to other people, with meaning.

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

My favorite thing about this business is you're just jammed in a room on a set with like-minded people - writers, directors, and art designers and hairdressers. People who didn't work a 9-to-5 but chose this life. You're going to like at least two or three people in that you love these people so much.

We could ask artists from abroad to come in too, so that there could be a mixing and matching of skills from Europe, America and here which would widen our world.

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.

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

There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.

I have an idea about building almost like a studio for some of the best Tropfest filmmakers, so they can come together and support and be given space and resources they need to tell great stories year around, so it's not just about the festivals. You know, the sky's the limit with this thing, and I'm still making it up as I go along.

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 always wanted a family environment, a community where a creator like myself could connect and vibe with other creators without feeling competitive.

But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.

First and foremost, I'm fans of the people I'm collaborating with. And collaborations expand who you are.

Chaos can be incredibly creative.

It's so amazing that you can give somebody like David Fincher 'House of Cards,' and he can do whatever he wants - Netflix doesn't say, 'Oh, you can't do that,' or, 'We need a subplot here about this.' It's pretty neat that it is allowing the creatives to be creative.

The future is going to happen in Toronto or Berlin or Bengaluru and not necessarily in the Valley.

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.

Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.

When I'm in the studio with a writer, I don't mind for them to take the lead and show me something new.

It's part of the culture at ILM and at Lucasfilm that the work is better when you collaborate, you know. There's this culture of open exchange, a wonderful ego-free sharing of ideas and talent.

I've always been of the idea that is doesn't really matter where you are geographically - with 'Lonerism,' we made half the album in Australia, half the album in Paris.