Hopefully, if not it's not working right. I'm like a navigator and I try to encourage our collaboration and find the best way that will produce fruit. I like fruit. I like cherries, I like bananas.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

If you go into a bar in most places in America and even say the word poetry, you'll probably get beaten up. But poetry is a really strong, beautiful form to me, and a lot of innovation in language comes from poetry.

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

I always think the Sex Pistols and the Ramones as very, very important because they stripped things down.

The intention was to shoot short films that can exist as shorts independently, but when I put them all together, there are things that echo through them like the dialogue repeats; the situation is always the same, the way they're shot is very simple and the same.

I start with actors that I know personally or I know their work, and there are things about their work or their presence or their own personality that make a character, that exaggerates some qualities and suppresses other qualities. It's always a real collaboration for me.

Contradiction was something I really like when it is embraced in that kind of philosophy.

I've always loved films, always. I studied literature and I went to Columbia in New York and I went to Paris for part of one year and ended up staying there.

I didn't go to classes there, but ended up at the Cinematheque, and there it opened up even wider because there I saw a variety of films from all over the world.

I didn't get my degree at NYU; I got it later, they gave me an honourary one.

Hopefully, if not it's not working right. I'm like a navigator and I try to encourage our collaboration and find the best way that will produce fruit. I like fruit. I like cherries, I like bananas.

Before she married my father, my mother was a film reviewer for The Akron Beacon Journal - a small newspaper.

I think it comes from really liking literary forms. Poetry is very beautiful, but the space on the page can be as affecting as where the text is. Like when Miles Davis doesn't play, it has a poignancy to it.

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.

I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.

When I left Ohio when I was 17 and ended up in New York and realised that not all films had the giant crab monsters in them, it really opened up a lot of things for me.

Baseball is one of the most beautiful games. It is. It is a very Zen-like game.

I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.

I didn't get the degree because in my last year, for my thesis film I made a feature called Permanent Vacation and they'd given me a scholarship, the Louis B Mayer fellowship and they made a mistake.

I think of poets as outlaw visionaries in a way.

A lot of poets too live on the margins of social acceptance, they certainly aren't in it for the money. William Blake - only his first book was legitimately published.

I don't like American football. I think it's boring and ridiculous and predictable. But baseball is very beautiful. It's played on a diamond.

I started working with friends of mine and that, to some degree, continues.

Cricket makes no sense to me. I find it beautiful to watch and I like that they break for tea. That is very cool, but I don't understand. My friends from The Clash tried to explain it years and years ago, but I didn't understand what they were talking about.

Poets are always ahead of things in a certain way, their sense of language and their vision.

I wanted to make an Indian character who wasn't either a) the savage that must be eliminated, the force of nature that's blocking the way for industrial progress, or b) the noble innocent that knows all and is another cliche. I wanted him to be a complicated human being.

It was a really interesting time in New York in the late 70s and early 80s, and the music scene was really, really interesting because you didn't have to be a virtuoso to make music, it was more about your desire to express things.

I love rehearsing because in rehearsals there are no mistakes, nothing is wrong, some things apply or lead you to focus on the character and the things that don't apply are equally valuable because they lead you to towards what does.

It's interesting that instead of having to get tighter and more restricted for a collaboration, strangely enough, from the beginning, we've actually been more confident that we could handle this.

There are a lot of people who've been able to ditch their Windows machines and switch over to Linux because they can now use their Exchange server for calendaring and collaboration from their Linux desktop.

Thanks to farm subsidies, the fine collaboration between agribusiness and Congress, soy, corn and cattle became king. And chicken soon joined them on the throne. It was during this period that the cycle of dietary and planetary destruction began, the thing we're only realizing just now.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

For the second album I look forward to doing a lot of serious collaboration and taking the experiences I've had over this last year, good and bad, and working it into the album.

Between you and me, I think that may be one of the things that will help with the collaboration, because there are things Eric thinks I'm moving too quickly on, and there are things I think he's dragging out. When it gets to the editor they can arbitrate.

I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you'd come up with something exponentially better.

Every sin is the result of collaboration.

I start with actors that I know personally or I know their work, and there are things about their work or their presence or their own personality that make a character, that exaggerates some qualities and suppresses other qualities. It's always a real collaboration for me.

The one great thing about a continuing collaboration is that they know you. And if you're really lucky, they really believe in you and think that your talent has some unending bounds to it.

So I didn't have anything to do with picking the songs, but I got to musically take them in places I thought might be interesting, so it was a real neat collaboration among the three of us.

The fact that the Arctic, more than any other populated region of the world, requires the collaboration of so many disciplines and points of view to be understood at all, is a benefit rather than a burden.

I think there should be collaboration, but under my thumb.

Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.

This band is a real collaboration, and I'm greatful to anybody who can appreciate our music. It doesn't have to be a certain kind of fan or person or anything. I think there's a little bit of something for everybody on this record.

Art is the collaboration between God and the artist, and the less the artist does the better.

Unity is strength... when there is teamwork and collaboration, wonderful things can be achieved.

Good design begins with honesty, asks tough questions, comes from collaboration and from trusting your intuition.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.