Greg Rucka Quotes

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

24 hours a day, I'm thinking about what we can do with this artist, what I can do myself over here, and how we can tie it all together.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

The directors I respect are the ones who have a collaborative attitude, who collaborate with actors.

Magicians are typically introverted; they don't tend to work with others, but I work with software programmers, composers, designers, so it's a very diverse group and the result is always more interesting than something I could have done by myself.

Let's form proactive synergy restructuring teams.

That's the nice thing about collaborating with someone: Your work becomes a conversation.

I think film is collaboration, and I always want to hear everyone's input.

Musicals are very collaborative. Unless you find somebody who wants to do something with you and has equal commitment, it's not going to work.

Making a film - particularly what I think is a good film - is the result of a team of people, and the end result has many, many hands on it.

We tend to see films as artifacts of one mind. The reality of it is, I think, when you come out here and start working, you have to learn pretty quickly that it's a very collaborative process.

I know it sounds earnest, but I do really feel in my bones that acting is just a small part of the equation when you are making a movie. The director really is in charge. Actors are as important or unimportant as the rest of the people around them.

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

Collaboration is just, really, a group of people getting in a room with their eye on a very similar prize and wanting to come out with the same show. The director, ultimately, is the guy in front of whom the buck stops. So, he has to have the courage to prevail. But, he has got to have a huge amount of respect for his collaborators.

As a director, if you know what you want, then it's not scary.

Even the lamest page can be saved by collaboration.

I think it is in collaboration that the nature of art is revealed.

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.

Collaborations aren't easy, but you definitely get something highly different than had you done it on your own. That's part of the experience.

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.

The director is the ultimate creative arbiter of what's going to happen. And as a director myself, you really appreciate collaborating with people who are trying to help you find what you need and what you want.

One is, that they will feel about you that you're going to make something wonderful for them. And they help you by expressing themselves. Not telling you how to do it, but encouraging you and accepting your vision and working with you on that kind of a level.

When I'm a part of someone else's creative process, it's all about facilitating their ideas and hopefully bringing their perspective and making it a part of a song.

I am not the kind of designer who is racing to the finish line, so while collaborations are important for our growth, each and every one has to be strategic and well-timed with what we have going on internally.

And I think one way or another it's evident to those who work with me that as a writer, a director, a friend, as somebody's there that's very anxious to get the movie made.