Amy Pascal Quotes

You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.

If you're setting up lights and tripods, and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different.

Any film is a collaborative process, you've got thousands and thousands of people working on it.

Filmmaking is such a collaboration. At a certain point, I suppose you do have to let go and trust the people you're working with.

The living together is very important in a way. It's important for writing. It wouldn't be important if we were like just getting other people's numbers together, we'd just have to meet at rehearsals, but writing is something almost completely different.

Absolutely, you rise and fall based on your creative team. I have continuity across different films that I've done. I was even fortunate enough to reach back and include people that had worked on Horton with me, as well.

El Bulli was created by 2,000 people that passed through it. And we didn't know that something big was happening. It was like a game in a way. You didn't really know how it was going to end up, and people who would leave, they would take a piece of it with them, but they would leave another piece behind.

A film just doesn't involve actors, a director and a producer, there is also the cameraman, the sound engineer, the music composer, the lyric writer. So many people come together to make a film. When we all feel satisfied with the film that we have created it's a win for all of us.

I've never written anything that wasn't somewhat of a collaboration. I don't know how people do it on their own.

I bring people on to the movies to type and to help punch up and look at things. But a lot of it is, you want fun people to be around, to put you in a good mood, to try and access your creative place.

Animation, by necessity, is a team sport, and the fewer people with input into my work, the better I like it.

The secret of directing is working with really good people.

On these feature films there are people on the staff who can draw 100 times better then I can, and animate better then I can, and light better then I can, write comedy better then I can. I basically am in the middle of kind of a creative typhoon and I'm just kind of talking the film up on to the screen. Minute to minute, meeting by meeting, day by day.

No one person can take credit for the success of a motion picture. It's strictly a team effort. From the time the story is written to the time the final release print comes off the printer, hundreds of people are involved - each one doing a job - each job contributing to the final product.

A film is not done by one person. It's done by a lot of people. I love this whole collaborative aspect. When it works well, you end up with something better than any of us started out to do.

For me, self-gratification eventually took a backseat to trying to do something collaborative with other people, to trying to make something new.

In the creative sense, I'm looking forward to collaborating with people I have mutual respect for to create some really good work.

I really enjoy directing television because you get to work in so many different genres and with different people.

I love putting things together. I love putting together a team and making stuff with people. It's great, that's what's cool about movies it's such a collaborative effort.

It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.

If I collaborate with people, ideas...they take interesting turns and twists, and I'm excited for that and that process and excited to see what we come up with.

I don't like to write music by myself anymore. It's boring. I want the jamming, the push and pull, and the excitement that comes with it.

Directing is a terrible, anxious process. It's all collaboration, and if you have a dream, it's diluted very quickly by the slightest ineptness in any of your collaborators. They're supposed to help you, but too often they help you into your grave.

Walt had a seat-of-the-pants approach on what he wanted musically. We kind of 'read' the boss and had a very high batting average, but there were occasions when he felt we had just written the wrong piece for the situation he wanted. We invariably listened to what he wanted - he was very descriptive in what he wanted and we could read him. We'd go back to the drawing board and work out what he wanted. He was a great inspiration, but a tough taskmaster.

TV writing is for people who hate being alone more than they hate writing.