As I stood in the booth chatting to people, it occurred to me that besides good racing, the Crew Classic provided an ideal setting for the brotherhood of rowing. The brotherhood connects real rowing people. Teammates who haven't visited in years came together, and so do former opponents who once battled like mortal enemies. Suddenly they discovered they have much more in common. Long live the brotherhood of rowing.
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.
When you're filming, you work 19-hour days and you know more about what's going on with your crew and co-workers than you do with your husband. You're away, you miss things. It's taxing. Relationships fail because of it.
On a standard space shuttle crew, two of the astronauts have a test pilot background - the commander and the pilot.
The success of the film is down to the crew.
I'm pretty strict with anyone on our crew when people start to draw too well or draw some in-betweens in the animation.
He could ball with the crew, he could solo But I think I like him better when he dolo
My heroes are the camera crew and the electricians. They work such long hours.
When you value your crew, they look after you.
Obviously, the opinions that are most accurate are the ones that are closest to you - your crew, your friends, your family. Those people know who you are, and that's accurate.
In other words, crew deaths are a feature, not a bug," Cassaway said, dryly.
I've always loved working on series. The crew feels like a family and it's nice to have a regular gig that you can count on.
I have cultivated a little crew of people whose opinions I understand. It's like the way you'd follow certain film critics because you know what their criteria are, and you may not agree with them, but you can glean from their opinion how you will feel about a film.
Actors push pause on their lives, fly to foreign countries, invest so much and work so hard and get so intimate with a group of people from a crew and cast, and then they say 'that's a wrap' and you push play on your life and there's a middle part of the sandwich, or a tunnel or bridge that you have to kind of walk back over before you can hit play.
There's a constant flow of child actors. It's kind of funny to watch the new crew come through. I think, You poor little things. You're going to have to struggle for a long time.
In my experience, directors who are the most comfortable with themselves and confident in their work give you and everybody on the crew the freedom and the space to create. It's the people who are more insecure who feel the need to control and micromanage.
Ground the main character in stupidity. Hire a good cast and a good crew.
You have to understand that crew members make movies so they're seeing a lot of actors all the time in their career acting.
Back in the Bruce Lee era, and in my era, Kung-Fu stirred up a kind of frenzy, and many people were learning martial arts from us. But about a decade ago, Hollywood began bringing in a number of our action choreographers, including two from my own stunt crew, where they became martial arts directors. Now, a decade later, Hollywood has learned it all, so when you look at the action films they're making now, they all use our action, our martial arts, and then add to that their own technology which is ten times better than ours, and it has to leave us dumbfounded: how did they film that?
To my crew: Please be reasonable and do it my way. The Captain