Edie Falco Quotes

As a writer, you're really in control of almost everything. That's not the case in TV. You have to be prepared to work with a lot of people to make something happen, and you got to be prepared, at least in the beginning, to not be too good at your specific task.

I love working with the quartet. I have more freedom and flexibility.

But I just think we've got such a continuity with what we're doing that most people come in and fill in the blanks. And sometimes we leave a lot of blanks to be filled.

There are times when the writers ask us to improvise. Sometimes the animators are inspired by what you do, and sometimes you are inspired by what the animators do.

Everybody does their homework, and we all come together and just knock it out. There are adjustments to make, and if you have actors who are collaborators and who really know how to listen and be in the scene together, than it works out beautifully.

One of the things that is particularly precious about working at Apple is that many of us on the design team have worked together for 15-plus years, and there's a wonderful thing about learning as a group. A fundamental part of that is making mistakes together.

One of the great things I learned from how cooperative theater is, you can't be too precious about your ideas.

There's such a thing as theater discipline. One player doesn't appropriate another's inventions.

It's not easy to act, but to direct to act. It goes form one place to the next. It's not heading for the punchline, and also it's not about scoring goals. It's about passing the ball, and the goals will come by themselves.

Through improvisation, jazz teaches you about yourself. And through swing, it teaches you that other people are individuals too. It teaches you how to coordinate with them.

When you have more than two people working together, it gets a bit unfocused as an idea.

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 love collaborating with people.

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.

One of those things that I like about TV is that if you get a group of people you like, you can work with these people for months at a time, and you can discover their strengths and weaknesses, and you can use those in the direction where you take the characters.

In effect, I feel like a blind, deaf, and illiterate person working through the sensibilities and multiple, real talents of other people. Everything I do is collaborative.

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

But I also think that the more you reason collectively about what the project should be at the beginning of the process, the more you can improvise later.

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

I like big casts. The experience of working together, that human contact - those are my roots, professionally.

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

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.

It's like a cast of actors; you're all working together closely under pressure to produce something everyday. And when we put up an issue, it's like the curtains opening on a new play. I really like that daily sense of surprise.

It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable.

Pretty much, I am always open to input from everyone; although I don't require it, the feedback is conducive to getting the play together.