Creative Collaboration Quotes

I was lucky enough to make four Bond films. It finished in rather shambolic fashion, but I have no bitterness, no resentment.

Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.

I only get involved with projects as a producer if I feel creatively inspired.

Art can contextualise and buttress fame. So rather than being antagonistic in the way Fugazi would have had it in 1989, particularly in the present, maybe they are one - they belong to one another.

When I'm in the studio with a writer, I don't mind for them to take the lead and show me something new.

There's no better place to do a longform project than HBO. I loved the creative teams I got a chance to work with.

I signed up for 'Brothers & Sisters' because I think it's a really great show. I like my character, and I'm really interested in what he has to do every day - and this cast is so spectacular. I really wanted to work with this particular group of people.

I try to seek out and surround myself with people who just percolate fresh, original, and creative ideas.

I built a studio in L.A. for me and my brother to just write every single day. And it's been great, man.

'Cabaret' was the most commercial success that I've been involved in.

I've been very lucky to work with a lot of amazingly supportive directors.

I joke that we're not dissimilar to a rock band in the '70s.

Everyone was very deeply involved in the world of 'The Lord of the Rings'. From the wardrobe department to lighting, all were fascinated with the story. This is something that does not happen usually.

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.

It was fantastic to be on the set again with Denzel (Washington) and Antoine (Fuqua) and then to have the situation be so different. We weren't making a sequel to Training Day. We were in the middle of the desert riding around on some horses.

I grew up in Colorado - went back there, tried to heal myself and grow and learn, then got a call that David Lynch wanted me to fly back to Seattle so he could meet me for Twin Peaks.

I'm always going to talent scout and try to find new artists to work with.

I always felt better co-writing something - always co-writing. Because if I was the lead of it and it failed, then it failed on my own accord. I would say, "Well, I liked it or I screwed up. I take the hit on this one."

As an entrepreneur, as an investor, I'm trying to be as educated as I can to where the progression of technological capability is going and what it does to these different categories that, me as an artist and an influencer, I can get involved and bring value.

Any good director creates a playground. That's what they do. They hire the right actor, open the door and let them play because stuff will happen, right then and there. The audience wants to believe that what's going on is happening for the first time, ever. That's what acting is. That's what good scene writing is.

I played more of an advisory role with Public Enemy. I really trusted them to make the music that they wanted to make, and the way The Bomb Squad worked with the... they created their whole own world of music.

I believe that music is connected by human passions and curiosities rather than by marketing strategies.

The beauty of having a producer is that you have someone who says, You're finished.

I think over time I've learned to stop being a screamer and get interactive; otherwise, you get killed in Hollywood. I stopped being a screamer shortly after 'Blade Runner,' kicking doors and things like that, because I wasn't actually getting anywhere.