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Collaborators Quotes

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Collaborators Quotes

“Hidden Halls by Stewart Stafford Hail the dark prince, An apostle of perfidy, Great cull’s architect, Lavish secret funding. Wrong horse backed, Crown shards buried, Knights get sanctuary, Sullied pasts shrouded. Ultra kingdom subjects, Bloody, unwashed hands, Eliminating in full denial, That the bacillus was them. © Stewart Stafford, 2022. All rights reserved.”

“Well it's not possible to win this kind of thing. This is a continuous striving that people have done for a long time. Of course, there is many individual battles that we win, but it is the nature of human beings that human beings lie and cheat and deceive and organized groups of people who do not lie and cheat and deceive find each other and get together... and because they have that temperament, are more efficient. Because they are not lying and cheating and deceiving each other. And that is an old, a very old struggle between opportunists and collaborators. And so I don't see that going away. I think we can make some significant advances and it is perhaps, it is the making of these advances and being involved in that struggle that is good for people. So the process is in part the end game. It's not just to get somewhere in the end, rather this process of people feeling that it is worthwhile to be involved in that sort of struggle, is in fact worthwhile for people.”

“Performers always come back from the Edinburgh festival with adventure stories. Watts told a few: meeting a young kilt maker who spent a year in a madhouse after eating too much LSD, and accompanying Seattle actor and musician Michael McQuilken (of Collaborator Productions) to the hospital after a Frisbee accident. He reached up to catch it and cut his hand on a sign, .. He had to get a few stitches, but I think he can still play.”

“Even if a civil society were to be dissolved by the consent of all its members (e.g., if a people inhabiting an island decided to separate and disperse throughout the world), the last murderer remaining in prison would first have to be executed, so that each has done to him what his deeds deserve and blood guilt does not cling to the people for not having insisted upon this punishment; for otherwise the people can be regarded as collaborators in his public violation of justice.”

“Those women who had gone out with Germans were grabbed and treated very badly, often shaved totally bald so that everyone could see who they were. Some were taken prisoners. There had been so much suffering during the war because of the betrayal of those collaborators, so many killed and hurt because of what they had done to families, that the mood for revenge against the traitors was very high. It was not right, but it was understandable.”

“Prostitution reinforces all the old dumb clichés about women's sexuality; that they are not built to enjoy sex and are little more than walking masturbation aids, things to be done to, things so sensually null and void that they have to be paid to indulge in fornication, that women can be had, bought, as often as not sold from one man to another. When the sex war is won prostitutes should be shot as collaborators for their terrible betrayal of all women.”

“Choosing a director is like choosing a therapist - you want somebody who is going to be a step or two ahead of you, who can interpret and articulate your intentions better than you can, with the benefit of objectivity. I look for a collaborator who is going to help bring to life, on stage, in three dimensions, what is on the page. I wouldn't want a director who imposes conceits or distrusts the text or who has prejudged the characters.”

“One of the major challenges facing creative individuals is that of building upon the continuity of human knowledge while achieving novel insights. ... On the one hand, to intensify an inquiry and develop a sense of commitment to a creative life, the learner needs models, teachers, and collaborators. On the other hand, the individual, while building upon the past, needs to transform it, and thus broaden his or her choices.”

“I am convinced that in the arts, committees are useless. What is necessary are people like Karajan, [fellow recording producer John] Culshaw and me; we know not only how to achieve the best artistic results but how to attract the public and carry out the whole operation with carefully chosen collaborators. Democracy is fatal for the arts; it leads only to chaos or the achievement of new and lower common denominators of quality.”

“The industrial world would be a more peaceful place if workers were called in as collaborators in the process of establishing standards and defining shop practices, matters which surely affect their interests and well-being fully as much as they affect those of employers and consumers.”

“The spirit of Dr. [Martin Luther] King and the thousands of people he worked with set the races on a different course in the United States... In that same spirit, we must have the courage - and teach our students the courage - to be bearers to the world of this transforming love, co-creators of a more deeply human world, collaborators with Christ in the building of God's Kingdom.”

“When you have your chance to make a film, don't focus on pleasing everyone. I think the goal is to live in that sweet spot where you focus on making a good film and you have fun with your collaborators, but you don't waste your energy chasing approval every which way. When you have a vision and a good story and you've managed to raise funding, it is your approval as a director that everyone should be seeking. It's very simple.”

“I think the power of the short film is incredibly underrated. It is way easier to get someone to watch a 15-minute film then a full-length feature. In those 15 minutes you have the opportunity to express your voice as an artist and hopefully connect with your audience. If you are trying to be a first time feature director then a short film that demonstrates you have a grasp on the themes and concepts of the movie you want to direct is a no-brainer. Whether they are collaborators or potential investors, filmmaking is a visual art form so you obviously need visuals to show them!”

“It is one of the few elements in the process that a director really, really can't control: an actor's performance. If you have a director that understands that, it's comforting to an actor. You're starting the relationship more as a collaborator, rather than as an employee or some kind of a soldier trying to execute something you don't organically feel.”

“3D needs a trained eye. It can't be done by everybody. People who just do 3D just for the sake of commercializing their movie another five or six percent and they don't know really how to do it, they should care how to do it better by bringing other directors and collaborators into their lives to help teach and instruct how you really make a 3D movie because it's not just like putting a new lens on a camera and forgetting it. It takes a lot of very careful consideration. It will change your approach to where you put the cameras. So, 3D isn't for everybody.”

“Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.”

“The inherent non-linearity of the digital allows for more input from others, including the subject and reader as collaborators. The top-down, bedtime-style story is of limited use. A non-linear narrative that allows for increased complexity and depth, and encourages both subject and reader to have greater involvement, will eventually emerge more fully from the digital environment. This, in a sense, is the more profound democratization of media.”