Jonathan Groff Quotes

I think video village is bullshit. It's like it's a breeding ground for people to nitpick and feel important. It's just such a weird dynamic.

Whether people identify as feminists or not, if they're doing work that furthers a feminist cause, I think that's wonderful, like if it works for me, right, it works for the movement. But I do think that personally they're missing out. If you don't identify as a feminist, you're missing out on this whole community that's out there that could really help you with your work, help you with your personal life, and just give you support.

I'm living in the moment. I just try to move each of the stories, scripts and projects that I work on forward. And when they're ready and the people are ready to make them, we'll do that.

The really cool thing is all about being able to take your movie around and show it. It puts you in direct contact with people who are like-minded and interested in similar things. I think the film festival circuit has certainly helped to foster the community.

I think there's something in collaboration - the fact that you can sit there and bounce ideas off of someone. It definitely matters who the person is, because certain people... The act of collaboration, where you can talk to someone, hang out, get ideas going, there is something in that. That's similar between everyone. But I think every individual collaborator is different, because they have different brains and emotions and ways of working, so it changes. Definitely.

I'm not one to hide anything, but I don't feel the need to comment directly on [my relationships]... I think it would be a shame to not live in the moment and not enjoy everything that's happening in fear of other people's opinions.

I only want to do the kind of work that I would like to go and see, that's going to teach me something new, that involves working with people I can learn something from and I can give something to.

I bring people on to the movies to type and to help punch up and look at things. But a lot of it is, you want fun people to be around, to put you in a good mood, to try and access your creative place.

Even if it's a sequel, lots of people have to give their all to make a game, but some people think the sequel process happens naturally.

You work, especially in the movie business more than in TV, but you have an environment where people feel obliged to have an input because that's what they do, and I think sometimes it can clutter things up and make things more problematic.

During improvisations, I'll hear people bringing back up details from something I heard about at breakfast or something somebody was saying that they were thinking about, and it informs a rewriting of a scene.

I personally think if you're given four months instead of four weeks on a play, with the people who want to work that way, the play will invariably be different and stronger, and much more fulfilling and richer on all counts. There's no doubt in my mind about it.

I think in most cases, if you're with good people, comedy creation happens faster in collaboration. That's how I can tell if it's a good collaboration: If it's faster than me by myself, then it works. If it's slower than me by myself, then I get out of the room.

I like working with family and friends and people I admire. All my movies are filled with family members of some capacity. I think it means more when you have a personal relationship with someone.

I think people have had too much to think and ought to flex their magic muscles. It takes awhile to get oriented to what I do, but people seem to be able to hear it if they give it a chance. I'd never just want to do what everybody else did. I'd be contributing to the sameness of everything.

You're in the middle of making a movie and this part of the process is always very interesting. Because you think what you're making your movie is and then you start putting it out there, and then people tell you what your movie is.

We give each other a wide berth even if we have the flu, let alone... So, I think that's part of the stigma that people who have diseases suffer. It's almost infectious... if somebody is closer to death, they're almost a bad omen and I think that's terrible.

The best reason to paint is that there is no reason to paint... I'd like to pretend that I've never seen anything, never read anything, never heard anything... and then make something... Every time I make something I think about the people who are going to see it and every time I see something, I think about the person who made it... Nothing is important... so everything is important.

Most people don't take some things into consideration. When they hear an album, they hear the artist or they hear the lyric or they hear the melody. But they don't really think about the environment in which it was recorded, which is so important. It's that thing that determines what the album sounds like.

There are days when either filmmaking feels like an insurmountable practice - here's a lot of obstacles in the way to make it happen - or you think, "What does this all add up to?" You don't know what to do with the footage, and you've asked a lot of people for their time and a lot of people to be patient with you. And then you lose faith that you can actually make a worthwhile story out of this.

Just think: your family are the people most likely to give you the flu.

But I think I know just as many creative people who've never taken drugs in their life as I do who have taken a lot of drugs.

Advertising agencies come to you and they are great fans, they are great creative people themselves, but they ask you to do something, and you say, "Well, we will, we'll create something together." And it is work. It's like you're doing something and they're saying, "Change this" and "Change that." It's not hard, horrible work, but creatively it's not just freedom.

When you work on a movie or a TV show, you're a family, so if something that's a two-minute thing in the movie is causing a rift in the family, you also have to think about at what point do you fight this, and at what point is this rift worth having in this very small, very tight group of people who are just there to make something great and funny.

When you think about people, you give them power.