Top 1200 Film Crew Quotes & Sayings - Page 2

The films an audience really enjoys are the ones that were enjoyable in the making. Yet pleasure in the work can’t be achieved unless you know you have put all of your strength into it and have done your best to make it come alive. A film made in this spirit reveals the hearts of the crew.

The International Girl Crew isn't supposed to be super exclusive - that's a really important part of our brand and message. It's not just our crew - it's a lifestyle. It's for everybody to know how empowering it is to be surrounded by friends who motivate and support you and who you feel like you can exchange ideas with and do projects with.

'Pod' was a significantly larger crew with Ilium Pictures co-producing. 'Darling' was bare bones. We had less than half of the crew that we had for 'Pod.'

I do miss the idea of the crew getting together to watch dailies after work. I will usually get selected dailies printed on film especially for the early part of a shoot as HD dailies really don't tell me much photographically.

A mockumentary is supposed to be real, and we were frustrated with mockumentaries on TV, which are so rampant because of the success of 'The Office.' It's not real. You watch and ask why is there even a crew there. They never set it up in the narrative. You have a documentary crew following families for reasons we don't understand.

Our high school didn't have a crew team - we started the crew team.

In terms of so-called fly-on-the-wall documentaries, there's a claim that the camera is a transparent window into a pre-existing reality. What really is happening is that the film crew and the subjects are collaborating to simulate a reality in which they pretend the camera is not present.

I miss the cast and crew of Supernatural immensely. I know it's a cliche to say your cast and crew are like your family, but it's really the case there.

In spite of being professionally gregarious, in my nonpaid hours I'm a bit of a hermit. After being around a crew of fifty people for twelve hours a day on a film set, I really like my alone time, and as always, I abhor small talk.

I had never spent any time in Asia before, so when I flew over to film 'Dramaworld' in Seoul, the cast and crew and I became very good friends. That was the first time I had an experience like that, which I treasure and hold dearly.

I have people around me. I have a semi-permanent crew. If I make a film, they just turn up. They don't even invite themselves. They don't ask if they can come - they just turn up!

I miss the cast and crew of 'Supernatural' immensely. I know it's a cliche to say your cast and crew are like your family, but it's really the case there.

I think everything within film and TV helps inform every other role, so it's definitely helped my acting, being on the other side of the camera, and it's just given me a whole new appreciation for how hard everybody in the crew works.

There was this hip-hop collective called People Crew. And at the time in Korea, there was no real place to access rap music. So People Crew used to host this summer school program, which taught rapping and dancing. I begged my mom to attend that school to learn how to rap.

Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.

Comedy is a serious business. It's frustrating when I can't find the right thing that makes the crew laugh. If I don't make them laugh, I get very disappointed in myself. You don't really have a live audience, so you just depend on the crew to let you know if you're doing something funny.

The movie [Aquarius] is about love, ultimately, and it was made with love. There were a lot of parents in the crew, and they were the best crew I had ever worked with. Everybody knew the construction of each scene, and were completely invested in every shooting day.

The Democrats continue to snipe at Bush. They'll never give it up to him. You know Teddy Kennedy and Tom Daschle pick more nits than a father and son spider monkey team who know they're being followed by a National Geographic film crew.

There are quite a few very funny people in my life. You know those people who don't mean to be funny, they just come out with these zingers that just make you howl with laughter. Usually you find these people in the road crew. A good crew is a key to a healthy funny bone.

I'm sort of a delusional in the sense of, I was just gonna graduate from school and just, like, prance onto a film set and have a movie crew waiting for me to make my '8½' or something, which is completely insane.

We [me and friends] like to have surprising stories, but the dynamic and the friendship is the same. When you go out with your crew of friends and you get into trouble, at the end of the night when you come home, you're still the same crew of friends. It's just the story that you have to tell.

If there's a cutaway, you need to get it then because it's only going to last [a few moments]. You have to edit the movie as you're shooting it in your head and communicate with your crew about how it's going to work. While making a movie, you have the luxury of storyboards and a script and a bigger crew and actors. I mean, it's so much easier.

Saw has been a unique experience in that Ive had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.

I loved being on the other side of the camera and interacting with the crew. When you are an actor, you have to stay inside this world, but when you are with the crew, on the outside, you are in the dirt, working through all the issues. It's just a different way of working, and I think I preferred it.

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.

When you lock a movie's release date and then move it two months, it's just not good. It's good for everything but the cast, crew, and people who are creatively trying to make a film.

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.

Ships are obliged to take on harbor or river pilots - who provide specialized local navigation - when they approach a port, but in the canal, a Suez crew is also obligatory. The crew members are there in case the ship needs to be moored during the canal transit, but this rarely happens.

A movie script more than anything else is a plan of action for the crew. Everybody in the crew looks at the script to see what they're going to do. It has to contain where you are, and how many people are there, and what they do, and what time of day it is, and what time of year it is.

It's funny what you really see when you're the subject of the completely bizarre gossip magazine industry. It's just like, 'WHAT?!?' All this stuff with Emilie [de Ravin, his costar in Remember Me] as well. The tabloids say stuff like 'They went on a date to an Indian restaurant.' We were doing a scene! There's a film crew there!

Clive [Oppenheimer] and I figured out that I'm the only one probably in the film industry who is clinically sane. I say that as a joke, but there's a grain of truth to it. I'm not a stupid daredevil who jumps into the crater of the volcano to get the closest close-up, I'm not one of those. And you have to be aware that you have a crew with you and you are responsible.

Our shuttle crew is four people, because we're going to transfer a crew up to station, so all the jobs are divided between four people rather than five or six people. So it's been busy.

I don't think anything can prepare you for a crew to come in and actually film you as yourself. It's kind of frightening to think that all of a sudden people are going to know how you are, and how you act on a day-to-day basis.

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.

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.

The first day I start shooting, I start having a recurring nightmare that every single night that I am lying in bed, and there is a film crew surrounding the bed, waiting for me to tell them what to do, and I don't quite know what movie I am supposed to be making.

At some level, you've got to have the ability to - especially in film and in front of the camera, you got to have the ability to drop into character and close off the entire crew and the camera and everything else.

Once you are assigned to a flight, the whole crew is assigned at the same time, and then that crew trains together for a whole year to prepare for that flight.

Most indie shoots, or any kind of film shooting, even TV, it's out of Los Angeles, unfortunately. I wish that would change, that people could work where their families are, across the board - crew, cast. I wish we could all stay here.

You need someone who has a really good way of enabling trust in the cast and crew, or the cast particularly, to allow them the confidence to stretch themselves to get the performance that you're going to need to provide all of the emotional up and downs in the film.

I love to tell stories, but the making is less comfortable. I like to be private, and being in the middle of a film crew with the least amount of privacy is the discomfort of shooting a movie. For me, the editing is the great moment when I can bring back ideas and realize the movie for the last time before I hand it to the audience.

There's a way in which I feel like, when you're on an enormous film and there's an enormous crew and there are three cameras and there are like 20 setups for every scene, first of all, it's very... I find it very intimidating. And it's also sort of deadening in a way.

I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.

'Saw' has been a unique experience in that I've had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.

Everyone feels a sense of ownership in creating a Lynn Shelton movie. Lynn chooses amazing people - including the crew. Every person there is committed to making the film the best it can be.

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.

NASCAR does a good job of trying to keep things equal with new rules. We're not allowed to have computers in our cars to tell the crew what's going on. So the only thing you have is the driver, and the driver-crew chief relationship. That's the most important thing.

That's a big love letter," she says, squinting. I know what I'm going to say and for a moment I wish there was a film crew documenting my day-to-day life: "I've got a big heart," I say.

I have done a lot of short dramas that are three, four or five episodes and so that makes the filming process similar to the independent film process; it is very intimate, and it is a small cast and a small crew and everyone is there with a common goal and want the best for that project.

Swishahouse, it started off as just a crew making mixtapes and that's when I got down with it back in like 1998. It wasn't a record label at first. It was all just for promotion, for fun, and we just had a crew representin' for our hood.

Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.

I've learned that if you can keep it calm and keep it fun and loose, then that allows for ideas from the crew. I don't care where an idea comes from, whether it's the crew or my producer or the actors or anybody. I just want it to be fun, and if that's the case, then I think you make a better movie.

We were filming in Greenland, and I treated my crew. It's 24 hours of pretty bright daylight there right now, and I always try to do something nice for my crew every trip or in every other city. So I greeted them with a midnight cruise, but it looked like two in the afternoon.

With Courageous, it was the first film where we really began to pay our cast. Because the church owned the previous films and we started so small, with such small budgets, people were just volunteering on the cast and crew.

I like the sensibility of Australian film a lot and the crews are fantastic. Great characters, wonderful people and no line between - I think in Hollywood they have this line between actors and crew a lot, and that just didn't exist, which I really appreciated.

You can start a documentary with just a camera, as opposed to a fiction film where you need actors, a crew, a script, a lot more start-up resources. It may be self-perpetuating.

While watching him work on the set of the film based on my life - Patch Adams - I saw that whenever there was a stressful moment, Robin would tap into his improvisation style to lighten the mood of cast and crew.

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.

It's very, very technical, what we do in film. While all of the lights are there and all of the crew members and directors are staring right at you, you have to be honest. It's a very difficult, but technical medium.

As a director, you're a bit of a dictator. But I feel that you're a better director if you're open to other people's ideas. It means that it's tougher: you have to be in a choosing process; you have to put the ego aside. As long as everybody's aiming in the same direction... I'm open to my main partners in the film crew.