When a crew and a captain understand each other to the core, it takes a gale, and more than a gale, to put their ship ashore.
I think it's important for me, for my crew and for the audience to bring something new to each show. I have friends who have done the same act, word for word for word, for 20 years. I have a problem with that. I think the audience should see something new in each show.
The universe has fascinated mankind for many, many years, dating back to the very earliest episodes of Star Trek, when the brave crew of the Enterprise set out, wearing pajamas, to explore the boundless voids of space, which turned out to be as densely populated as Queens, New York. Virtually every planet they found was inhabited, usually by evil beings with cheap costumes and Russian accents, so finally the brave crew of the Enterprise returned to Earth to gain weight and make movies.
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.
It was such an amazing experience to be able to spend nine days on a boat with these Greenpeace people. Some of them were scientists and some were crew members working on the ship. Just to hear their stories, like what drew them to Greenpeace in the first place and what they've been through. Every single second of the day they work to save the planet, which makes me as an actor feel quite insignificant.
In some ways I think it [the strike] was important. I'm not sure that "worth it" is the right term, but it was important. A lot of people lost a lot of things - I was greatly concerned for our crews. Those are the people who really sort of paid. A lot of us in quiet ways did everything that we could to help people pay mortgages.
I love learning from the filmmakers that I'm working with, but more importantly, I love learning from the crew.
It's far from clear in general that Donald Trump is a guy who really thinks about the details of policy and is going to do the kind of heavy lifting you have to do as president to get those policies through in Congress. I think the hope is that Paul Ryan and his crew will push policies through Congress and Trump will just sign them. That's not really how policy works.
It's hard to be spontaneous when you have 40 people in your crew, and you're playing to 16,000 people every night, and there's giant lighting rigs, it's hard to change direction on a dime.
I climbed down the outside of a Holiday Inn once just to surprise one of my crew by getting on his balcony and knocking on his window.
Ordinary Women was shot on a soundstage with a professional crew and a professional animation studio creating everything.
You're talking about a whole camera crew and being mic'd up professionally everyday and just having another group of people following you around. It's a little different than having friends pick up a camera and follow you around.
Really Edward Teach, Blackbeard, was actually tall, so he was literally larger than life and so he knew that and actually the more you read about him, you realize that he actually respected and knew about the theatricality and he'd rather take a ship by threatening and having the power of his personality and the threat of the oncoming danger to sway the ship to just acquiesce and just give up their cargo and so none of his crew got hurt and they would just take their bounty and he wouldn't have to kill anybody, but of course he earned that reputation, so he was no saint.
I'm driving down the freeway the other day, on my way to Knott's Scary Farm probably, and I hear this report on NPR that the whole lemmings thing was faked in the 1950s. They were shooting a wildlife documentary in the '50s, they found a group of lemmings, and the crew chased them all off a cliff. No lemming has ever jumped off a cliff, purposefully, ever. Isn't that unbelievable?
In addition to that, we have a woman post-production supervisor, a woman colorist, a woman first AD, a woman production supervisor... I think it's really sad when I hear so many shows are content to stay in a mono-cultural realm, not realizing how they are subtracting from their own greatness by not inviting women and people of color into the space - that seasoning that makes the recipe even more great. It was absolutely imperative for me. It's how I run all my crews.
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.
We were into the Speedway. We'd take a train out to the Speedway where farmers had flatbed trucks with bleachers on them. They'd park in the infield and we'd sit on those. Our heroes weren't the drivers, they were the pit crews. That's because we were local, and we knew what was going on.
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.
My crew [on "Fitzcarraldo" filming] actually said, "We have filmed it from outside on the rocks of the shore. We should be on board [the ship]," and I said it's dangerous, I only do it if you cinematographer Thomas Mauch and you actor [Klaus] Kinski decide on your own.
Ground the main character in stupidity. Hire a good cast and a good crew.
It [Doral] is 800 acres in the middle of Miami. If you look at the ballroom, that was brand-new ballroom that didn`t exist. And it`s, you know, one of the great places on earth. We had a construction crew here of 1,600 people. We rebuilt the whole place in about 14 months. We did it under budget, although I did increase the scope of the work, because we decided to use the finest marbles.
I love both [Johnny English and James Bond] actually. The action sequences are really exciting because you're getting to work with some brilliant crew and do some great stuff but you always get some magic when you're working with actors.
I think I enjoyed witnessing Robin [Williams] and John play off each other really well, even just joking around in between takes and stuff. I just got to stand back with the crew and be entertained and watch the show in front of me.
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.
Also, to get to work with serious filmmakers on this kind of a movie, has elevated these movies. We were so lucky, as actors, that the crew of directors that we've gotten to work with are totally really super high-end filmmakers. But, Bill Condon had a vision and it was so specific. He's really passionate. I think he's taken the story to another level.
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