Susanna Phillips Quotes

I do paint, and I wanted to actually be a painter. Sometimes I'll whip out paints. It's tough to find the motivation, but it's also a solitary, lonely occupation. What I like about acting is that it is such a collaborative thing.

It doesn't matter if they're famous or not - I just want to meet other creative people who can maybe bring something different to the studio than what I have. I think that's the most important thing for me.

You want to mix acting styles correctly. People approach the work in different ways. You want to make sure no one wants to kill each other because the approach is different.

In some ways, it's more rewarding to hear someone interpret a piece of music that you're a part of.

When you start a band, you have to find people that are good, have the same sort of mindset as you musically.

I like to work with people that I find interesting and stimulating artistically, and the field in which they're perceived to work is secondary and not that relevant to me.

Even when I'm making my own solo records, I'm collaborating with people. It keeps things interesting for me.

To outsiders it probably seems like splitting hairs, but to me, Bright Eyes is a simply the collaboration between myself and Mike Mogis and Nate Walcott. What you hear is definitely the sum of all our ideas and represents all three of us. But I still write the songs myself.

Music - opera particularly - is a process which is endurable or successful only if it is achieved by people who love to collaborate.

Fashion is much more collaborative than one might think. You have to have an idea and vision, and you have to communicate that vision to a team of people, and you have to create an environment that allows those people to give the best that they can give.

Everyone who makes music is a good collaborator at their foundation because in order to make music, you have to connect to it in a way that other people can't.

That excites me, working with really excellent people, be it wonderful directors or actors or cinematographers and especially writers. My work life is going to a set and having these great experiences and coming home shifted by them.

I've always enjoyed the enthusiasm of the best studio musicians and, over the years, have collected so many inspired contributions from them.

I love getting into a studio with a bunch of friends. When the day's done, we've made something. We recognize that we're from different walks of the music industry, and there's no reason we shouldn't be collaborating. That's what I'm trying to create with thenewno2 - a sense of community.

Filmmaking is such a collaborative piece of art that you can't look to one person - you couldn't look to me, you couldn't say, 'Because Vin's in it, it's this or that...' It's really all of us coming together for that period of time to try and make magic.

I'll come in with a string of riffs and direct the musical ideas. But you still need a band and their input to make the ideas come alive. You can't underestimate band chemistry.

I work with a stylist called Devon Nuszer and a makeup artist called Aaron Barry, and between those two, I trust them implicitly. I have the things I do over and over again and that I feel safe with, but they inspire me to take risks, and I trust them so much.

We all write the music, and then Mark and Tom write the lyrics.

For the most part, I really love being in a collaborative thing. And in a collaborative thing if you have a singer as good as Sean Smith or Eddie Vedder, you kind of think, well, why don't you just go ahead and let them sing? People seem to really like it.

When you play with great musicians, whether they're schooled or self-taught, they keep you on your toes. It comes down to people's personalities and individual energies.

The most important thing is to follow your instinct and get involved with some friends who have similar tastes and aspirations and like music as much as you do.

The great fun for me is these collaborators. I'm nothing by myself. Being with these people, whether it's the 'Homeland' cast or stage collaborators, they make you everything you are. They make you come to work. They make you be alive.

I'd work with Danny Boyle every day of the week. No matter what he was doing I would do that.

A lot of times Mick will play me different things, or I'll listen to a cassette, and out of twenty ideas or whatever, I'll find two or three that are just blowing me away, and we'll start working on them right away.

When you get together in a group, it becomes like a family, with the different personalities and the politics that comes with being in a band. It's different than bringing something in by yourself.