Quotes of All Topics . Occasions . Authors
People working in films are somewhat like gypsies: we move from set to set and spent weeks, sometimes even longer working while shooting a film. Right from the spot boys to the make-up guys and cast and crew, we become a kind of family.
Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.
The script is so key to making a good movie. But everything is against you when you're making a movie: the logistics of putting a crew out where you need to go, whether the light is fading; if the weather's not right, something's wrong.
When we perform music at TV shows, we always try to do something that's not scripted because anything that's a surprise for the audience and the crew and the other performers, it works better on camera and for the people back home, too.
I directed 24's pilot. I felt we should follow the characters around as if we were a documentary crew, using available light, hand-held cameras, split screens, sound that isn't always what it should be, to suit the reality of the premise.
There have been times - and not just on 'The Newsroom,' but on 'The West Wing,' 'Sports Night,' 'Studio 60'... - where it was hard to look the cast and crew in the eye, when I put a script on the table that I knew just wasn't good enough.
A lot of actors just do whatever they do, and wherever the camera is, it is. They don't pay much attention, but I always did. I was always very close to the camera crew. They were my best buddies, no matter what movie or show I was doing.
It probably would be wiser, from a time-management standpoint, if I hired a crew to take care of the farm so I could get a little more rest. But the thing is, when I start my morning out there, I'm more productive for the rest of the day.
Being on a show like 'Fear the Walking Dead,' I started to learn more about camera work, learn more about the way the crew operates, and had more of a stronger opinion on how I think a television director can operate in the healthiest way.
My very, very first moment on set on 'Lord of the Rings' in 2000 was me in a lycra suit, six and a half thousand feet up on a mountain in New Zealand, standing in front of 250 crew who were all wondering what I was doing - myself included.
A lot of the time with an independent production, you go onto the set, and you rehearse it in front of the crew, and at that point, the cinematographer takes over. You start accommodating the camera instead of the camera accommodating you.
I know the crew so well, so I forget I'm being filmed. It's like cooking with a friend in the kitchen - you're talking, as you do, and maybe you're telling her about this wonderful way to prepare lamb chops - it's more natural, more honest.
I would see b-boys breakdancing in the hallway, I thought it was cool. I started practicing in my living room, then started battling, and then I joined a crew, and we started getting into competitions. In fact, we still battle - for fun now.
Actors and actresses have done a lot of films with their legs, with their arms, with the whole crew and the camera. Why shouldn't they be as good as a first-assistant director who has made three or four films? They've done it with their body!
Honestly, I've never had anybody with 'Teen Mom' ever be anything but great to me. Except the editors - they suck. Everybody from the crew, I love them, they're like family to me... I've never had a problem with any of them. Except the editors.
The highest compliment I could ever receive about my kids - and I can say that this does happen frequently - is when the in-flight crew say to me, 'Your children are wonderful. They are so well-behaved.' Every time I am told that, I could weep.
You try to make a film, and you have to come up with the money. You need a big crew; you need to ask people for favors and get permission. If you have an idea for a song, you can pretty much go into your basement with your band mates and do it.
We're going to be focusing our science on things that will take us farther and longer into space. For many of those experiments, the crew members are human guinea pigs, which is fine; that's part of my job. I don't mind being a human guinea pig.
The 'Damsels' crew was low-budget, young people who were doing their first thing almost. A lot of it. It felt like Pied Piper or Rumpelstiltskin or whatever: it was me and people thirty years younger or more. But it was great; it was really fun.
Your heart weeps a little bit when you have to say goodbye to a crew you spend two months with, but when it comes to the part, when you live so close to someone for two months, it kind of fades away and then you see her again on screen later on.
I run a fast pace on my sets, man. I like the energy of the scene to be the energy on the set. I think it affects the actors, and I think it affects the crew. There's that sensation like you're really shooting it for real, like in a documentary.
It's hard work to think away all those 200 people or 40 people, whatever the crew is, that are around behind the camera. To also think about, 'Whatever I'm doing now is going to be seen by a million people,' it doesn't really help my performance.
My dad served in the Air Force as ground crew for several years, and doesn't really talk about it. I know that it's there. I think my main thing about direct or indirect experiences as near to home as it were is the idea of self-sacrifice really.
Well, that's the old story I heard about the Jackie Chan films. That, like, Jackie Chan will just keep going and when crew members drop he just replaces them. I don't know if that's true but after having worked in Japan I believe it might be true.
Music is very helpful, not just for the actors, but the whole crew and myself. It gives you the tone of the scene. Everyone is focused on the tone of the scene when we are shooting, and we are having an emotional reaction to the music immediately.
I've done everything. I've been ring crew, I've been driver for a blind promoter, I've been a valet, I've been a referee, I've been a ring announcer, I've been a corporate officer, play-by-play man, blah, blah, blah. No one has been on my journey.
Because of my negative image, people used to hate me. I remember an incident while shooting for 'Zamaanat.' I was bitten twice by a cobra and the crew went to call a lady doctor whose clinic was close to the sets. She just refused to attend to me!
The crew are the faces you see every morning and last at night before you go home. I spend more time with those people than I do with my friends and family, so they're forever a part of you and who you become as an actor so I hope I see them again.
The Broadway community means the world. That goes for the actors, that goes for the crew, the producers, the writers, and most importantly, that goes for the fans. The Broadway community is one that I will always hold very near and very dear to me.
I'm challenged to races. Never a stranger. I've had a good friend of mine who, to be honest, is tiny and, like, should have assumed that I could have beat him, that I'm faster than him, and then crew members, two different crew members. I'm 3 and 0.
I was kind of the black sheep with the Disney kids. I was uninterested in making friends with most of them. I didn't really fall into 'the Disney mold.' I was more or less the kid hanging out with the crew members and got along with them far better.
We were all so different, temperamentally from one another, it's impossible to believe that we were together for so long. The cast and crew. How could we be more different from one another? It's difficult to imagine. But something lovely came of it.
I always feel like if you have a smaller crew, you can not only get to know the individual strengths of people more specifically, but then, you also give them a longer runway to be able to apply the knowledge that they have learned to subsequent work.
But so long as we can keep this crew of fantastic people together and can continue to make real breakthrough films in this category, as well as characters that stay true to what we've done in this first film, I'd be more than happy to be a part of it.
When I'm working, I look forward to weekends. Film sets give your time a structure; otherwise, one day can run into another. I often find myself in unusual locations, so Friday nights I might head out with some of the cast and crew to explore the town.
You can have 10 bucks to 10 million bucks and if you got a crew, imagination and a lot of people willing to turn in some work next to nothing, you going to have a feature. But you can't get beyond how expensive marketing the movie is, it's so crushing.
It's an international space station. We have crew members from both the U.S. and Russia and now the United Kingdom with Tim Peake from the U.K... It's great to see that, on this space station, that we can work across cultures in a very cooperative way.
When they don't have your back on a show, it's the worst feeling ever. That energy trickles down to the cast and crew. You can feel when it's not gonna be a winner. But when you have the support of the network and the studio, it's a really good feeling.
Captain William Thomas Turner, hero; villain, Schwieger. As I started doing research into him and into the submarine and so forth, I found that I was growing increasingly sympathetic to him. He's a young guy, 30, handsome, well-liked by his crew, humane.
The big difference is the size of the crew and the flexibility of shooting because of the size. I mean, it's crazy. So you can't improvise, you cannot suddenly do something that comes to mind, whereas in a small production you have much more flexibility.
I stayed with a family in the bush in Alaska and there were absolutely swarms of mosquitos. The crew were wearing full body nets but the family weren't, so I decided that if I was going to do things properly I wouldn't wear them either. I was eaten alive!
I know, just from directing television, where you have a huge support system of producers and writers and a script supervisor - not just the cast but a crew of 100 people - there are, as a director, hundreds of questions that you have to answer every day.
Before I start directing a show, I try to spend a few weeks hanging around the set, getting to know the crew and talking to the actors about how they like to work. Who is fussy? Who is left-handed? Who wants to go home early, and who is the perfectionist?
To this day I over prepare. I draw storyboards for every scene - chicken scratches so crude that they amuse and horrify the crew. I send out shot lists, act out the scenes, and search for a theme that I can relate to. It's my favorite time of the process.
I love Snoop. I worked with him on 'Old School,' and he's very accessible. He's very kind. He's always nice to everyone, to the crew. He's always got something positive to say. He's very childlike and loves to come and play. So, I had fun working with him.
I auditioned for soap operas and commercials; I remember auditioning for Lays potato chips. It was a sort of 'Mutiny on the Bounty' sketch, where Captain Bligh was torturing the crew by saying, 'You can only have one Lays potato chip,' and they all rise up.
We don't want a third party who may or may not have our best interests in mind or our crew members' best interests in mind because they may be serving a union of one of our competitors. They are trying to equalize us and take away our competitive advantage.
When you do a film, you know you're shooting for 6 or 9 weeks, you've got your cast and crew. Overall, no one can just pull the plug and say, 'This isn't working.' There's just no security on television, especially for African Americans. It's a tough market.
Everyone in the astronaut program has a degree in a science field. The crew are the ones who do the experiments, help to design some of the experiments that come from other primary researchers. So it becomes very important that you have a science background.
I remember telling the 'Tangled' crew about grimace moments: how when you watch a movie that you worked on and you think, 'Ah, I wish we could have done that scene better,' or, 'I wish that we'd had the time or the money to fix that particular story problem.'