A Quote by Jennifer Westfeldt
I think film is collaboration, and I always want to hear everyone's input.
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I have learned that collaboration are everything to me. Music is a social thing. If there are no ears to hear it, it has no value. I have really loved getting input from other great musicians- like recording strings with my family or making weird synth sounds with tore nissen.
Everyone's job is invaluable. Film and TV production is collaboration.
I'm always a little skeptical when I hear people promoting a film and they say it has something for everyone.
Sculpture, for me, provides that environmental discipline where you actually move in and around it. And if you have a good collaboration with an architect, to combine those aspects of color - I'm talking about color becoming a form within the building - that is a very different approach. I love contemporary architecture, which makes collaboration more interesting-and you have to be able to collaborate. It's like making a film, in a way: Everyone is a part of the team.
In the theater, actors are the essential element of the work. In a film, it's a real collaboration - not that theater isn't, because it is - but it's a collaboration to such an extent that you can give a performance in film that sometimes you look at and you go, "Well, that's not the performance I was trying to give at all."
I'm very much into collaboration. I think that collaboration is the road to making something great. I respect artists that are more autocrats and are in control of their own projects, but it's not really my style. I've always had that partnership.
You ask actors what they would like to do, and you constantly keep them engaged. You want their engagement, input, and sensibilities. It's that intimate collaboration that is actually directing. I don't like the mechanicalness or coldness; I like the intimacy. It's like we are creating a child together.
I'm swamped with input. I want input, but I am so far behind on what I got here that I can't keep up with what people are sending me.
I am moving towards that zone where I don't want to be a replaceable name. This is my goal. I want to hear from the industry that, 'You are the only one who can do this. We will not go ahead with the project if you don't do this.' And I want to hear from the audience that it is worth watching a film that I have done.
My nature is happy. And all I can control is my response to input. If you come around me and tell me bad news all the time, I can say, "You know what? I don't want to hear it." If its just gossip, you know, I can choose not to hear it. And that, in effect, can control my mood.
The blessing that this film business has given me is that when I walk into a school I automatically have everyone's attention. They want to hear what the guy from 'Con Air' and 'Desperado' has to say.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
I'm super hard on myself anytime I think of an idea for a collaboration. I will rack my brain trying to think of one. I wait for the right person. It stresses me to think that I'd do a collaboration with someone and not make it the best possible opportunity.
When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused.
When I attack a role, be it TV, film or stage, the first thing I say is, I don't want to know anything. If it's good I don't want to hear it; if it's bad I don't want to hear it. The only thing either thing can do is distract me. I like to stay focused
I think because I do model for brands but it's never without input, ever. With AG I front their campaign, and obviously designed the collection for them. I did the same back in the day with Madewell. Even with Longchamp, there's a certain amount of collaboration on deciding on photographers and stuff like that. It's something that I'm accustomed to doing behind the scenes.
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