Crew Dynamics Quotes

It all has to do with the director, the captain of the ship. He sets the pace, the mood. If the director is quiet, the set is quiet. If the director is loud, then everybody has to be louder to be heard.

I have been blessed with some really special crewmates. Being able to be a really integral member of the team, no matter what role I was in, was truly special.

It's always tempting to cast someone you enjoy being with. You've got to hang out with these people for a number of months.

I think that Enterprise was getting better and better, actually, and if it had kept going, I think it would've turned into as good a show as any other in the Star Trek franchise.

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.

The relationship with producers has always, in my experience, been, uhhh - tense. Challenging. But the actors and crew become like family. You're there all those hours - more than on a movie. You come to depend on each other.

I've had the experience of seeing what makes life easier for an actor and for the crew, and what makes it feel bogged down and challenging. We're all really fortunate that we get to make our living as artists.

Making a film is so hard that if you don't have your main actors going along with the ride with the rest of the crew it can make your life very difficult.

The 'Mythbusters' crew, we monitor the Discovery boards, we look for the new ideas that are being forwarded on those boards, and we keep track of what's going on, we keep updated.

It's amazing how quickly human beings adapt, isn't it? It was such a great crew, and David [Lynch] was wonderful to work with [on 'The Elephant Man']. It was a very thrilling time, actually.

I'm directing episode 10 of the new season of 'Dollhouse' and couldn't be more thrilled. I've visited the set several times in the last year and a half to shadow Joss and other directors in order to prepare. It was important for me to get a feeling for the crew and how they interact.

If the world ran the way a crew runs a set, we'd have a better, more progressive world.

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?

When you're on set, the crew are like your family because you see them every day, six days a week.

I think I'm a people person. I get very attached to people. And I've become so attached to all the people on my show, the cast, the crew and the producers.

There's no sort of hierarchy at 'Corrie.' The crew get on.

On the landscape crew, I learned a lot from the other workers. We treated everybody equally, and we worked hard.

It's very important to have a good relationship with the crew and cast because you want to get the best out of them. They'll work really hard for you if they like you.

I got one of the illest crews in NY but when I travel it's mostly me and my girl, me and my kids or me and one or two of my dudes but the majority of the time its just me.

There's a lot of sets where morale is low; people are just a little too mellow, and that's infectious. So when someone calls 'Action,' you have to spike your energy up and fight against the current of the room.

I've been taught always be nice to the lighting people - they're the people you make friends with straight away so that's what I do.

'Room' was a particularly cohesive group, crew and cast.

Shooting in sequence, I think it intensifies everybody's relationship, the crew, the actors. You have to be very focused, and shooting at night is a challenge because you get tired. I think it requires a special kind of concentration, but it's also exhilarating.

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.

It's funny, but on a set there's a pecking order. There's a caste system, you know? It goes from the star down to the extra. That includes the crew as well. I've never liked that.