Professional Bonding Quotes

How would Jonathan Lethem have obtained such a stellar endorsement for 'The Fortress of Solitude' from Michael Chabon, if not for the years they spent ghostwriting 'MAD' magazine fold-ins together?

My absolute favorite thing about working on 'Liv and Maddie' is my cast and crew. The people that I spend almost every hour of every day with. Your cast has great influence over the quality of your life, and I've been blessed with not just a cast, but a family.

I fall in love with all the people I'm working with, women, directors, everybody. As actors, that's actually one of the real pleasures of the work. You have this weird opportunity to get unnaturally close to people very quickly.

'White Collar' is really a unique family where people kind of all get each other, and they're all on the same page. I was really fortunate because when I got there, I kind of just immediately fit right in with everybody.

Even when I'm on set, I'm always among friends.

Usually, you don't really end up lifelong buddies with your co-stars.

Military officers from different countries, when they meet each other, tend to sort of fall in love, become mutual admiration societies, at the expense of realities.

When I was a newspaper reporter, and later a television writer, I really felt my co-workers became a second family.

I think, with TV, you create kind of a family to work with.

Acting is an odd lifestyle. You make deep bonds quickly and, though you move on, you go around on a loop and see people again.

I had a brilliant time working with the entire cast and crew at 'Return To Nim's Island.' It's amazing how, after working on a film, you really become a family, and you build these really special bonds together.

The normal routine is always the same thing whether it's on a new movie or a new job - there's always a process of getting to know one another. I think part of what makes movies special is that it is a relatively intimate environment and it's pretty short-lived - you get to know one another very quickly.

Sometimes when an actor and director work together for the first time, it's not as if there's a suspicion, but there is tentativeness, a certain amount of a right of passage you have to go through in order to get there. When it's already there from the beginning, it's such a plus.

Of course it's always easy when you work with people that worked together, or you work with people that you worked with before, because you develop over years some sort of shorthand of communion that is always very valuable.

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.

When you work alongside somebody day in and day out, the relationships tend to be wonderful: they're lifelong.

Journalistic hours are odd and long and often tense, and newsmen seek each other out as natural allies in a world that is so much part of them, but which they visit so randomly.

When you're a regular on your own show, there's a comfort level that you have with the crew and the other castmates, so going into work can feel like going to your second home.

There was something really special about working with Lena Dunham. I immediately felt very comfortable with her, and we spoke the same language.

I met this group of stunt people and it was like, I had found family instantly. We're all a variety of different personalities, but whatever that mutual joy or appreciation of the work is, I'd not felt it like that before. It was, 'Yeah, I'd like to do this forever.'

People always think that designers hate each other. And we're certainly a competitive lot, but we also enjoy each other's company. No one else knows what you're going through other than another designer.

It's nice to have a sister with whom you can talk about your work and what happens in the industry. I value that.

When you meet a new woman who does stand-up, it is instantly like, 'Yes! In the gang'. Because you know the logistics of the job: they travel a lot, it's lonely in dressing rooms, you know that they have bad gigs. That means they don't have to prove themselves to me.

I feel like I've had a really great intense relationship with every single Director I've ever worked with. I can't say there's one that hasn't been deep and profound in its own way.

Every actor is different so you cannot become best friends on Day One. You just have to learn to know each other.