project collaboration Quotes

After 'Resurrection,' I was getting calls for people to do work with me, and I was turning it down.

It's always tempting to cast someone you enjoy being with. You've got to hang out with these people for a number of months.

While we were shooting 'Baahubali,' I had a knee injury, and a few months later, Prabhas injured his shoulder. Those two injuries meant a break of around five months from the schedule. So around that time, I was doing absolutely nothing, and Neeraj Pandey called me with 'Baby.'

So I told Robert from the start that if we couldn't get Charles and Max to take part, but especially Charles, that I didn't want to make the film. So would he call his mother and talk to Charles and see if Charles would at all be interested.

We have a project with Unocal here in Los Angeles, where we as an environmental organization, the oil company, and the state all get together to promote the recycling of used motor oil.

I've worked with Jonah Nolan on several projects. I really love collaborating with him.

The people I'm working with tend to be people I know, who are my friends, and I like hanging out with them. There's nothing better than making a long-term project with your friends. It's just dreamy.

I was delighted when Ashutosh Gowariker offered me the role of 'Sakina Begum.'

One of the pieces of advice that we give at YC is: try to work together on a project rather than just doing an interview.

It's always fun to be able to have a voice, because it helps me to stay in tune with the project and the people that I am working with. Ther's nothing worse than being on a project and not being able to have a voice. I don't like that.

For actors, when you first get the project and you see that it's a Steven Spielberg, Tom Hanks and Gary Goetzman-produced project, right away, from an acting standpoint, you go, 'Wow. That'd be great to be part of that. What a career move that'd be.'

The producers had seen "In a World..." and that's where they found me out and consequently sought me out for this role [in Man up].

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.

I love storytelling so for me to get behind a story and get in there early in its infancy and kind of develop it in the early stages was something I really wanted to be a part of.

[Make a sitcom] was really the idea of Executive Producer Joe Roth who owned the property over at Revolution Studios and said he was thinking about taking it to TV. And after he said that he already had [writer/director] Ali Leroi on board, and that he was going after Terry Crews, to me it was a no-brainer. I said, "Let's put this together!"

Richard Jenkins read the script [The Hollars] and really liked it, but he said, 'If you can get Margo Martindale, I'll do it. Otherwise, good luck.

When I’m Chad from Nickelback, then I have to wear one hat and I have to wear various others when I’m Chad Kroeger who is co-owner of 604 Records or someone who’s working on an independent project. At that point I want to know where the record is getting licensed, as well as absolutely every aspect of how we’re going to deliver a song to the public and how we’ll all get paid for doing so.

I firmly believe in the value of books: it's the way to pass on our work, and it allows us to explore new ways to express our creativity. In this specific case, Mariano Vivanco shot some images of David for this project's purpose.

It depends on the scripts and the character and just everybody involved, the other actors and directors. It's just a gut feeling when you find something, you're like, 'Yes, I want to sink my teeth into that.'

I would like to work with Pat [ Leonard] in any capacity. I would love to hear his versions.

I bullshit on the phone all day with a variety of people discussing various projects, and occasionally write jokes.

If anything, game development is even more of a team effort than making a movie, so for individuals to get credit for making a game is absolutely insane.

Working on 'NYPD Blue' and '24', those two series, I did full runs on those. It's great work, but everything has to align. The producers have to want you; the network has to want you; there has to be great writing; and it's not as easy as it may appear to the outsiders to make all those things align.

I loved 'The Matrix,' so when they asked me to do some animation relating to it, I was thrilled.

As a freelance artist, you have to please somebody instead of just making music. But when the employer trusts and leans on you to determine what is right for a scene or feeling, that's ideal.