Michael Giacchino Quotes

Working with other artists and sharing your passions is great.

'The Replacements' is where I met Jon Favreau, and we just clicked like, you know, like kids at a camp. And he wrote my next movie, which was 'Made.'

When you think back in history about producers and artists or writers who've had good synergy, a lot of times they date, or they're married, or there's a friendship and a kinship.

I want to interact creatively with the directors I work with - it's a thrilling way to work.

Me and Kanye work awesome together. He's a creative man, I'm a creative man, we put our ideas together, it's like the perfect formula.

Film is a collection of many mediums and collaboration and you're only as strong as the people you're working with - and everybody owns their mediums.

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.

Every time you get the chance to work with somebody you admire and would like to collaborate with... it feels like the best opportunity that's ever come your way, whether that's in fringe theatre or a really big-budget Hollywood movie.

Sometimes two artists wanna work together, but it doesn't mean it's gonna happen, because you have to find the right idea.

If the chemistry between me and the artist is good, then that's half the battle.

I'm just gonna make movies the best I can, do the festival thing or whatever can come. I plan on working with a lot of the same guys over and over again. I hope the majority of us can stick together.

There are certainly producers I hang with and directors I hang with and actors I hang with.

I think almost every woman artist I've ever met has this ideal of being in a partnership working situation with a man, that men don't seem to share. They seem to want this ideal thing, that we'll always be together and work together.

You go through this business and you meet people that you bond with, and you get to go make movies with them. It's wonderful. What I've always dreamt of, in my career, is to have a brotherhood of collaborators, and go in and out of working with them. I'm just starting to get that, and it's really lovely.

I have no directing ambition whatsoever. And as long as I meet filmmakers like Tom Hooper, Stephen Frears, and others who allow that collaboration, I can't see why I would ever want to direct.

I don't really have a dream collaboration.

As far as an actor-director connection, I think those can develop, and when they do, they're really great, and you just cultivate it like you would any relationship or friendship. If you find that something special, it helps down the line when you want to do more projects with each other.

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

I guess I gravitate towards stories that I like and directors that I want to work with, and I hope that it works out.

I'm very much of the opinion that theatre is a collective art form, not just one person's vision.

I've worked with Judd since 'Undeclared,' and once you work with Judd you never stop working with Judd.

You don't have to be best friends with people to make music.

The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.

To keep on collaborating with my friends from Cecile Believe and FluCt who inspire me a lot and who are part of the team putting this whole show together. I'm excited to have that kind of play.