A Quote by Sandra Bernhard

When you're collaborating with somebody who's got a lot of stuff they haven't worked out yet, you're working out their vision as well. — © Sandra Bernhard
When you're collaborating with somebody who's got a lot of stuff they haven't worked out yet, you're working out their vision as well.
We worked out a lot of bugs and figured out who was working and who wasn't and how this beast functions. It was a lot bigger than we actually thought, and now we have a well-run ship where it feels I can actually have time to imagine and not just stress out about everything.
You've got to believe in yourself, you've got to have a very clear vision, and you've got have the fire in the belly and go out and not be shy with working because it takes a lot of work.
Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.
You know a lot of what worked on this was taken from Harry Potter 2, the little Doby character, we had a lot of our skin stuff worked out and that helped a lot. We have a lot of exchange happening.
I truly believe that if I'm out partying and not in the studio, there's somebody out there who will be. When I'm asleep, somebody else is working. So, I have a lot of sleepless nights.
A lot of what we do in the studio on a day-to-day basis is you try to cast a line as far out as you can out into unknown waters and reel it back in, cut out stuff that isn't working, cut out stuff that isn't connecting to people.
I spent a lot of my time working in the American module, and he would stay in the Russian segment working on his things, and we'd meet up at meal times. So it actually worked out very well.
I have a lot of intention behind what I put out there. The reason all this stuff I do works together, the environmental and social, collaborating with ballet companies to score a show, the bike tour - all of that stuff comes together through community building with music.
The rumors are lies. There were a lot of people said we're not going to play that we don't have a contract. ... We got it worked out got it hammered out.
I've got a lot of wonderfully talented, creative directors I've worked with in Texas, but the market we're in, they kind of have to write to that. I think we've done some cool, simple spots. I was very comfortable in Texas, and getting ready to push out into national stuff, try to get to that national-type creative, and then I got sidetracked with this stuff.
I don't see [ Trainspotting ] as an albatross, I see it more as a calling card. It's got me out to Hollywood, I've got a good agent, I've got a good manager, I'm getting a lot of work out there and doing a lot of stuff - getting a lot of film projects on the go.
There's a lot of crazy stuff in this league, and you got to go out and you got to earn your role out every year.
You're unlikely to discover something new without a lot of practice on old stuff, but further, you should get a heck of a lot of fun out of working out funny relations and interesting things.
My clients were always poor folks, working folks, people who were in trouble and couldn't afford to pay a whole lot. I found it very difficult to say no to somebody who needed help, so most of my work turned out to be pro bono. It didn't start out that way, but it turned out that way because I never got paid.
You're really spread out now, you've got stuff all over the WORLD! You've got stuff at home, stuff in storage, stuff in Honolulu, stuff in Maui, stuff in your pockets...supply lines are getting longer and harder to maintain.
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.
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