Jonathan Krisel Quotes

My favorite thing is to have collectives. Even when it comes to filmmaking as well, filmmaking and music and most art in general, I feel like everyone should have the same say. If you're in a collective, I feel like everyone should have the same say.

I'm the kind of actor who truly believes that every play is a company play.

A Cat Stevens record isn't just Cat Stevens' ideas. It's Cat Stevens and all the musicians who play with Cat Stevens, right?

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.

I think it is in collaboration that the nature of art is revealed.

I'm all over the place. As you may have seen from the credits, I write with everybody.

'Doctor Who' belongs to all of us. Everybody makes 'Doctor Who.'

One of the things I love about theater, one of the reasons I'll never give it up, is that it's fifty percent the audience's responsibility.

I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone.

It's ludicrous to think people work for you: 'a film by...' doesn't exist. Directed by, maybe, but it's a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.

I love bouncing my words off of someone else's, and the fact that writing a story with someone else guarantees you'll get something you never, ever would have written on your own.

Each of us is carving a stone, erecting a column, or cutting a piece of stained glass in the construction of something much bigger than ourselves.

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.

Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.

When I got to filmmaking, the most democratic of environments where anybody could say anything, those were the best environments, but what you don't want to assume is that you know what the audience is thinking.

There is a lot to be said for collaboration, and it should be seen as just another way to do things as it is in other forms of writing, such as for television, where it is standard practice.

The most evocative thing to me is probably when a writer and a group of performers can collectively put together something compelling that asks the really simple question: 'How do we live?'

Poetry must be made by all and not by one.

I like Betsy Ross as a model, too, the quilting bee, sitting around with your friends making art, asking what they think, so that you get the benefit of everyone's opinions and so it's not just about you in your you-dom.

When you're doing collaborative music, the relationship that forms is a very bonding kind of experience.

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.

The fun part about doing our movies is that you're creating something using the talents of people rather than finding these pathetic people who are thrust into these situations. That, to me, is completely artless.

Film is a collaborative medium, and I very much enjoy that.

Sonic Youth was a collective. There's something fantastic about the idea of making music is a social activity.

Film is a team thing. There is no auteur.