Collaborative Production Quotes

I've certainly worked with really great directors who haven't acted.

Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.

There's a perception that if an artist produces another artist, they're going to imprint on them. But I'm the opposite. I want to hear that artist; I don't want to hear me - that's the last thing I want to hear. There are a lot of technical studio things I've learned or figured out, and I feel like I could use those things to help other people with what they're doing.

The job of the director is to make certain that the film has one voice and a sense of a single vision, even though it's produced by a large number of people making contributions - to turn all those contributions from individual voices into one coherent one.

Boygenius' was the first time I produced without a producer-producer in the room. It's been crazy.

We originally developed 'The Client List' along with Lifetime as a TV movie - my manager and I became partners on the project. Then, we brought in Howard Braunstein on the project and produced it along with Lifetime.

A lot of TV is put together by teams, by writing staffs and several different directors. It's a great, very smart way to make television. It's worked for however long TV's been around.

Open source production has shown us that world-class software, like Linux and Mozilla, can be created with neither the bureaucratic structure of the firm nor the incentives of the marketplace as we've known them.

I want to explore the existing manufacturing abilities of Indian companies and create products together.

'The Muthaship' was an experiment. All my friends are working at Endemol, so they just kind of pushed me into it to see if we could shoot a little web series on an iPhone - and that's what we did: we shot it on an iPhone. So it's so experiential and so silly.

The only person I've worked with on my album was Kanye. And between the stuff that I've done and the stuff that he's assisted on and produced for me for this album, I don't even need anything else.

My first CD started as a studio project and I record everything with one other guy, so I didn't have a band. That's kind of how I like to do it, though. I like to create it with one other person, this guy, Tommy English, who produces everything. And then I go out on the road with a band who interprets it live.

The ideal set-up would be the story man, the director, and the layout man, as well as musician, operating as a sort of story unit. They all should be keenly interested in the picture. No one in person should donate to an extent where he would keep the others from entering into the production and freely expressing themselves.

I'm an independent filmmaker with complete creative control of my films. I hire who I want. I have final cut. But at the same time, I go directly to Hollywood for financing and distribution. I find it's best for me to work within the Hollywood system.

If you look before the '90s, you might not find many - if any - albums with multiple producers. It just didn't exist in the history of music. That would have been like Michael Jackson telling Quincy Jones, 'Look man, I know we did well on 'Off The Wall,' but I'm hot now, and I need to see some other producers for 'Thriller.''

You want a place where you can say that this is your show that you invested in with other actors, but there's also that flexibility of being a recurring actor.

I loved making 'The Hunger Games' - it was the happiest experience of my professional life. Lionsgate was supportive of me in a manner that few directors ever experience in a franchise: they empowered me to make the film I wanted to make and backed the movie in a way that requires no explanation beyond the remarkable results.

The sharing economy is about making use of any idle resource out there. We do love seeing other sharing-economy companies flourish.

I don't love collabs just for the sake of collaborating. It has to be purposeful and it needs to sonically make sense.

There's a few things I learned from my experience on 'Hieroglyph.' First of all, I learned that building a world doesn't need to be as expensive as a summer blockbuster. Yeah yeah, newsflash, I know.

Success stems from the producer creating the optimal conditions for the filmmaker's own creative process. Not from steering the filmmaker through a one-size-fits-all approach.

[C]ollaborative production is simple: no one person can take credit for what gets created, and the project could not come into being without the participation of many.

I don't like directing that much to want a career as a director for hire. I like to have as much creative control as possible.

'Mandem On The Wall' is an online comedy series that I produce, write and act in along with three other people.

In this digital world, web shows are a total game changer. Compared to films, they allow you to have far more choices to collaborate with super- talented people, dig deeper into a character, explore fresh creative ideas, with less restrictions.