Cody Fern Quotes

When you have a situation where you're hanging out with 20 or 30 other artists, then there's insane amounts of creativity in the room.

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.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

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.

Certainly when, you know, you put a lot of creative people together, there's ego and tension and all that stuff comes into play. But on the flip side, there's a lot of camaraderie and closeness.

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

On a film, you start to get closer and closer with the people you're working with, and it becomes like this circus act or this travelling family.

I just love working with actors, and I love working with writers, working with designers. I feel that I am just a storyteller, and whether I am wearing the director hat or the playwright hat, it doesn't matter. And the rooms I tend to be in are pretty democratic, and the best idea wins.

Working on any show that works is the best job you can possibly have in any area of the business. You've got so much going for you, a good community, everybody's hanging together, and you get to do it every week.

When you're in a creative flow with somebody - and I had this back in architecture school - you're just so passionate about what you're doing, and if that other person is just as passionate, you'll be madly in love with them. It's just that thrill of creating.

I've discovered that Motown and Broadway have a lot in common - a family of wonderfully talented, passionate, hardworking young people, fiercely competitive but also full of love and appreciation for the work, for each other and for the people in the audience.

I wasn't thinking of competing with any artists as such, I was more thinking of being among them, and sharing thoughts with them; like sharing views, ideas, etc.

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 believe everything creative is somewhat collaborative. If you're a painter and someone stretches your canvas, it was collaborative on some level.

When you get to really involve yourself with a piece and the other people, and you get to feel like it's a community and you're all building something together, it helps me to produce better work, I think.

I think, with TV, you create kind of a family to work with.

I think it's the essence of any film and any stage production - any work where you do work with other people - of course collaboration is hugely important. One does, for awhile, become family.

I like how collaborative and cult-like filmmaking is. It's really family-oriented, tribe-oriented.

I'm lucky to be surrounded by incredibly talented people at Pixar, of course, and I learn a lot from them each and every day.

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 came to L.A., I absolutely fell in love with the energy of the place. It's such a creative hub, so as a storyteller, there's nothing better than when you're surrounded by people who think like you and have the same goals as you.

There's a few people that I write with that we don't stop until one of us cries.

I'm lucky to be collaborating with a lot of great songwriters/producers - and it's all about chemistry!

Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.