Nick Nolte Quotes

And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.

It's good to work with a writer-director.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

I think most co-directors and co-writers just hold hands.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

Actors and directors work on things together. That's how I like to work, anyway. I don't want to be told what to do. I want to share it with someone and work it out together.

Mike Schur knows exactly what everything should look like but, at the same time, is super collaborative and loves working with actors that make choices and bring stuff to the table.

I work very closely with my co-writer, Efthimis Filippou. Ideas either start from him or me, and then the other one develops it, and it's a constant conversation.

I try to just focus on what feels right to me when I am conceiving it, conceptualizing, designing, etc. and then talk it through with the team and listen to what they have to say. This kind of thing is a team effort, and working with a great team is the most important part of filmmaking for me.

Jeph Loeb has been great to work with, and he's been really supportive of some really bizarre ideas I've had.

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.

But I'm blessed to work with great people. I collaborate with brilliant stylists both here and in Paris. I work with a great design team. I really allow everyone to bring their ideas. I almost rely on them to inspire me.

One of my favorite things about 'Castle' is the fact our writers and producers are so collaborative. They allow us to bring in ideas, and they try to make them happen for us.

Before I ever put anything on paper, Jerry and I would talk back and forth.

Personally I'm very happy to be behind the scenes. I like collaboration, I like working with directors.

I'm not one of those playwrights who says, 'Show up, hit your marks, and don't talk to me!' I always want to hear from the other artists involved, whether it's the director, the lighting tech, or the actors.

Film is a collaborative art form. If you're not being collaborative, you probably shouldn't be working in film. You don't do it on your own. People who understand that, cultivate that, get the best results.

There's a constant dialogue going back and forth between the filmmakers and the producers.

In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.

I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'

In an ideal world, as a director, you usually wish you could do your own thing and not have to take anyone else's point of view into account, but occasionally you work with someone like Robyn, who brings a new set of ideas to the table, and the whole ends up much greater than the sum of the parts.

For me, always, the big inspiration really comes from talking with my creators, my showrunners and my producers, and seeing what is their vision for their project.

We tend to see films as artifacts of one mind. The reality of it is, I think, when you come out here and start working, you have to learn pretty quickly that it's a very collaborative process.

It's part of the culture at ILM and at Lucasfilm that the work is better when you collaborate, you know. There's this culture of open exchange, a wonderful ego-free sharing of ideas and talent.

I've always liked playing with somebody else and collaborating, just to get out of my own head all the time. Everybody does, but artists especially, we torture ourselves. So it's good for me to immerse myself in somebody else's work.