Quotes of All Topics . Occasions . Authors
It usually starts with the director and any other creatives who may be involved at the start. It's a collaboration. I bring what I have naturally and, hopefully, what they cast me for, and then we start playing and tweaking until we have what they feel's right. It helps to have some artwork to inspire me, but I don't always get that luxury.
I always talk to all the crew. I always make it pleasant. I always nurture a relationship that makes people feel like they're important, like they're a part of the collaboration. I feel that way about the young actors on set. I don't talk to them like I'm the mentor; I talk to them like they're my peers. And I learned that from Meryl Streep.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
The subject is missing from 'Replica' - it's about malleability of materials, and working with metaphor, and sculpting in time. So that makes a collaboration with another person who pushes sound in a sculptural way appealing, because you're like, 'Let's see what dimensionality is introduced from this other perspective that I might not have.'
I would describe Hyperledger as a tremendous opportunity for collaboration for firms that range from gigantic commercial concerns all the way to the smallest, newest startups. It's a community of great intellectual depth and great commercial breadth, and as such, I think the opportunity to be part of that is a unique and enriching experience.
You don't wanna know the sinner. You don't wanna know the killer. Because it's you. Television is stalling evolution. Medication is stalling evolution. Evolution is stalling revolution. Evolution, revolution. Collaboration, the start of revolution. My decision, the start of revolution. Revolution, the start of evolution. Revolution, evolution.
The discovery of the Terror in, of all places, Terror Bay, on the southwest coast of King William Island, was the culmination of years of exertions by the Arctic Research Foundation (ARF) in collaboration with the Royal Canadian Navy, the Coast Guard, Parks Canada, the Canadian Hydrographic Service, the Canadian Ice Service and other agencies.
We try to guide with a light touch. Sometimes we can be helpful, and my goal with my team, both on the series side and on the film side, is that the collaboration should always be invited. In other words, we're not looking to impose our view on the filmmaker; we hire a storyteller because we love the story, and we love their ability to tell it.
Human Needs Project is really about how to come up with a different approach to helping, really focusing on the dignity of people living in communities you are not a part of, and how to approach these communities with help, but more look at it as an investment and a collaboration with these communities rather than, 'Here comes the white savior!'
I'd probably end up doing the same thing over and over. We're creatures of habit. We know what we know. With collaboration...and I'm not just talking about music, I'm talking about in life - if you're a good listener and you have your ears open, and to be a good collaborator you have to be able to listen, you can learn something from somebody else.
Collaboration is such a thrill when you're working with someone you really respect. When it's just one person working alone you get a singular view of their world, and that can be great, too. But when you have different people working together with different aesthetics, different techniques, and different mediums, you get something bigger than both of them.
Confidence is not just in people's heads; it comes from the culture of the organization. It's easier to expect success when working in an organization that has a culture of accountability, collaboration, and initiative. Without this, it's easier - and more self-protective - to assume failure so the person is not disappointed and instead pleasantly surprised.
When I work, I'm the actor. I'm going to do my job. I'm not going to direct the movie. If I wanted to direct it, I would direct it. I wanted J.J. Abrams to direct Mission: Impossible. I work with people that I respect. I expect them to do their jobs, and I will do mine. And I am there as a producer to help in any way, but no one makes a movie by themselves. It's a collaboration.
Unfortunately it's hard for me to be a fanboy for anything these days just because I see so much music. And it's not a namedropping thing, but there's just not that many people in this certain small little genre world we live in that I don't know or am not acquainted with. And I like them all; I get along with pretty much everyone. It wouldn't be unusual to see a thousand collaborations at some point.
After moving to Los Angeles in the early '90s, I started looking into "music for picture" more seriously and in broader scope. My collaboration as a programmer and arranger with Graeme Revell exposed me for the first time to the full spectrum of film music, including the hectic demands of orchestral scoring and the power politics surrounding the finalization of any score for a major motion picture in Hollywood.
Each one of us in Café Tacvba is a composer and we come to the group with songs written out, musically and lyrically. Occasionally, there's a collaboration between us. But each song is almost always written by one of us, and then we all figure out the arrangements. Up until now there hasn't been a moment where the composer explains the song and says, "I want to say this or that." It's always open for interpretation.
It was amazing how much their [Seth Rogen, Evan Goldberg, Shauna Robertson] process seemed familiar to me, translating that into the work that I had done and giving actors a lot of freedom and doing a lot of improvisation and a total respect and collaboration with all the department heads and all the crews, and just really making it an enjoyable industry rather than just clocking in and doing a job which a lot of movies are.
The industries closest to Google - media, advertising, and entertainment - are affected first. But the avalanche that is Google and the internet will overtake all industries and institutions - carmakers, bankers, universities, government - as we undergo a fundamental restructuring of the economy and society. Every industry and institution would be wise to understand the need for handing over control, for transparency, for collaboration and speed.
For the world is an ever-elusive and ever-disappointing mirage only from the standpoint of someone standing aside from it—as if it were quite other than himself—and then trying to grasp it. But a third response is possible. Not withdrawal, not stewardship on the hypothesis of a future reward, but the fullest collaboration with the world as a harmonious system of contained conflicts—based on the realization that the only real "I" is the whole endless process.
I suppose in some ways that's why my collaborations worked out, because I would go in the studio with such enthusiasm and it would never be a chore for me. I was never itching for the process to be done so we could get out live. It's a different matter for me now. Now I've noticed that I actually have one eye or one ear on how I'm going to do it on stage. And maybe that's because I'm the frontman in the group; I do believe that any good frontman should be impatient in the studio to get out.
When you are living with the exhortation or live-with "Be in the World But Not of It," you experience your connection with all and the possibility of co-creativity and collaboration with those around you. You see an oneness in the world as opposed to warfare, even with those who are your enemies. You are not of the world of conflict, even though you have the strength to deal with it and turn it around. You have compassion in the sense of seeing the highest in yourself and then seeing that in others.