A Quote by Jurnee Smollett-Bell
Part of an ensemble show is realizing it's a collaboration. It's like a symphony. Everybody takes their turn, but it's really the collective group that matters.
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I'm never happier than when I'm part of an ensemble. The rhythm of working in a group and the dynamic of each individual relationship within that group coming together is such a special thing.
I really want to bring ensemble playing back to the forefront - not just for me, but for everyone in jazz. When you have a group, a true co-op group, you can really heighten the possibilities of all the treasures of jazz.
When I do an operation, it's half a dozen people. When it goes beautifully, it's like a symphony, with everybody playing their part.
Contact with like-minded painters - a group means a great deal to me: nothing comes in isolation. We have worked out our ideas largely by talking them through. Shutting myself away in the country, for instance, would do nothing for me. One depends on one's surroundings. And so the exchange with other artists - and especially the collaboration with Lueg and Polke - matters a lot to me: it is part of the input that I need.
The most important part of filmmaking is the collaboration and the ensemble element of it. If you just all focus on the task and the work and try and make the best film that you can then people will come.
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.
It always takes a group of people working together with a common purpose in an atmosphere of trust and collaboration to get extraordinary things done.
Part of debunking the mythology of filmmaking is that we tend to want to locate it often in one person. And it's not one person. It's a collective, and it is a collaboration.
I never started out to be an action actor. I was an ensemble actor. "Rocky" was an ensemble film. "F.I.S.T." was an ensemble. "Paradise Alley" was an ensemble.
Without realizing it, I think I've wanted to do a sketch show since I was, like, 11 years old. Like everybody else in comedy, I grew up watching 'Saturday Night Live,' and I was doing characters with my friends.
I just have always felt that I think we know that it's an ensemble show, and it's very hard to pick a show to submit when you're nominated, because usually everyone has a very strong part in every episode.
I've done a lot of pictures that are ensemble, and I've not always liked the people I was working with, but that doesn't make any difference because you do the job, and often it turns out to be a great ensemble even if you didn't particularly really like anybody.
It takes a warrior's courage to acknowledge that your point of view matters, that your truth matters, that your gifts matter, and that your presence on this earth matters. You don’t have to earn this right; it’s yours as part of your birthright.
If you get a show named after you, and then play another character, that's fine. But if you do a show that's an ensemble show like... MASH, then you're in trouble.
The thing that everybody loves about the 'Burnett Show' was that you felt like you were really there - all that fun stuff stayed in the show, and I think that's why everybody remembers it so fondly because that just doesn't happen anymore on television.
Collaboration is just, really, a group of people getting in a room with their eye on a very similar prize and wanting to come out with the same show. The director, ultimately, is the guy in front of whom the buck stops. So, he has to have the courage to prevail. But, he has got to have a huge amount of respect for his collaborators.
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