Dan Castellaneta Quotes

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.

I enjoyed so much working with the guys from Wilco, and riffing off of them, and having someone come up to me with ideas, because normally in the studio it's me who has to come up with all the ideas.

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

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.

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

People sort of imagine Chris Morris and me sitting somewhere dark, with dripping taps and chilling background music. In fact, we like to sit on his roof in the sunshine - and there's an endless amount of just sitting there, going, 'So, erm, er, what shall we do?'

From an artist's point of view, I always want to work with the writers I admire.

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.

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.

What I love most about animation is, it's a team sport, and everything we do is about pure imagination.

I hardly ever go into the studio with a work complete in my head. It emerges from communal activity.

Songwriting is a give-and-take process, and it can lead to some good, healthy debates.

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

I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.

One of my favorite things about 'Castle' is the fact our writers and producers are so collaborative. They allow us to bring in ideas, and they try to make them happen for us.

Writers, actors, anybody working on an ensemble-type thing, there are going to be some creaks in the beginning. It seems like there's tremendous potential in just letting things sort of breathe a little bit. It's tremendously important.

I believe everything creative is somewhat collaborative.

The cool thing about directing is, whatever cool thing works in the scene, it's still making the episode be a great story, and everyone's working toward that goal, so it doesn't much matter where it's coming from.

I think if you speak to any creative person, there's something so powerful - so intoxicating, if you will - about discovering another voice, another instrument, another way of looking at things, another way of perceiving things.

At least for me, any time I've been in hotbeds of creativity, I got excited about something that wasn't coming from me.

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.

My favorite thing as a performing artist is to get a pile of raw material from a writer who says, 'Will you help me make this real?' There's nothing like starting from scratch.

One of the things I've learned from animation is that some guys are really good at writing, some guys are really good at design, some guys are really good at directing. It's almost like working in a band - not everybody plays every instrument.

A lot of my creative ideas begin in the pub, talking through possibilities with collaborators.