Steven Johnson Quotes

I would not necessarily say that scientists and artists need to collaborate with one another, but it would be helpful for them to talk to one another to, perhaps, give rise to specific ideas that may or may not be carried out together.

Before I ever put anything on paper, Jerry and I would talk back and forth.

I work very closely with my co-writer, Efthimis Filippou. Ideas either start from him or me, and then the other one develops it, and it's a constant conversation.

It's part of the culture at ILM and at Lucasfilm that the work is better when you collaborate, you know. There's this culture of open exchange, a wonderful ego-free sharing of ideas and talent.

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

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

I think the community that's created within a writers' room is a very interesting topic.

At its core, 90 percent of my job is still sitting down in a room full of people, and breaking stories... and that requires virtually no technology.

There is one crucial rule that must be followed in all creative meetings. Never speak first. At least at the start, your job is to shut up.

Jack and I usually get together and sit around in the afternoons and start throwing ideas around.

Whatever the creative industry, when you're confronted with the challenge of coming up with a Big Idea, always work with the most talented, innovative mind available. Hopefully... that's you.

I do a lot of brainstorming with my editors.

To me, the more dialogue amongst creative types, the better. It keeps people on their toes, and competition is healthy.

If you understand each other's way of thinking, you understand what kind of film someone is trying to make, and all the ideas that I come up with will fit into that film.

Being able to chuck ideas around and bounce ideas off each other with anyone I'm working with is just something I love to do, that's how most of these ideas are formed.

What I love about working with Diplo is that it feels very free and fluid - we can work on a song apart from each other or in the studio, and it's always, 'Let's brainstorm, here are new ideas.' I like that kind of workflow, where it's constantly moving.

I love to argue and share bright ideas in a rehearsal room, and when you live with somebody who is working on the same show, the delight can go on all evening!

I apply the term 'creativity' broadly... it's problem solving. We are all faced with problems, and we have to address them and think of something new, and that's where creativity comes in.

Kanye has this discursive way of working, getting input from a range of people, that I thought was really cool.

If the opportunity came my way, if somebody wanted me to look over a script or sit in a room in sort of like a brainstorming session... I would certainly be open for that.

I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'

Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.

In an ideal world, as a director, you usually wish you could do your own thing and not have to take anyone else's point of view into account, but occasionally you work with someone like Robyn, who brings a new set of ideas to the table, and the whole ends up much greater than the sum of the parts.

I like writing with people. I think the times that I've closed myself off to not writing with people, I haven't gotten the best product because I haven't had anyone to go back and forth with and really discuss what's going on in my life, what's going on in their life. It's so important to have that connection.

The Young Bucks and myself are always full of ideas.