I'm a very competitive person, and I always competed with myself. Every year, I'd take six weeks with my band, crew and choreographer to put a new show together. We'd spend eight hours per day, seven days per week putting a show together to beat the last year's show.
I shopped at J. Crew in high school, I studied computer science. I was a nerd-nerd, now I'm a music-nerd.
Film was something that I didn't see as a step up from music videos, though obviously, music videos, the fact that you work with a crew and a film camera, are the closest to film I've ever been. That is the only schooling I've ever had.
And the two planes that were taking the band and crew that we had taken out to San Diego were flying out after the show. And so I was never supposed to be on that plane.
The ship's transporters - which let the crew 'beam' from place to place - really came out of a production need. I realized with this huge spaceship, I would blow the whole budget of the show just in landing the thing on a planet.
I keep working with fairly inexperienced directors. You know, if you have a good crew, a good cameraman, you know, I know what I'm doing. If the actors know what they're doing, we can all pull together, and it works.
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.
When we perform music at TV shows, we always try to do something that's not scripted because anything that's a surprise for the audience and the crew and the other performers, it works better on camera and for the people back home, too.
I was awake for the therapy, it was documented by a film crew. I am proud to have taken part of helping millions of people even if it has bad results.
Before social media, if I, as an individual wanted to publish something to the world, unless I could get some local TV crew to interview me, or I wrote an op-ed or took out an ad, I had no voice.
I remember telling the 'Tangled' crew about grimace moments: how when you watch a movie that you worked on and you think, 'Ah, I wish we could have done that scene better,' or, 'I wish that we'd had the time or the money to fix that particular story problem.'
If we're having a tough day, we'll bring the babies on, and suddenly, these crew guys who have, like, tattoos all over their necks are cooing and fawning.
I run a fast pace on my sets, man. I like the energy of the scene to be the energy on the set. I think it affects the actors, and I think it affects the crew. There's that sensation like you're really shooting it for real, like in a documentary.
I always felt my role was like the pit crew in a NASCAR race, and President Obama was Dale Jr.- he's driving, and my job is to change the tires and get him back on the road.
There are many who condemn my crew and I for taking the law into our own hands and for taking on the barons of corporate profit.
I have a rule that I don't read my press, but then somebody in the crew will be reading it and of course it's right there, so what do you think I do?
There is nothing worse than sitting in the make-up trailer knowing that the whole crew are twiddling their thumbs waiting for you to change your hair from straight to curly or up to down. Sometimes it can't be avoided.
In the year 2000, the very youngest members of the Baby Boomer crew were in their mid-30s while the oldest Boomers were mid-50s. That year, the Boomers were a generation divided somewhat equally between the GOP and Democrats.
If the world ran the way a crew runs a set, we'd have a better, more progressive world.
When I got picked up by the Tapout crew and was featured on their reality show, that really jumpstarted my career.
Whatever one thinks of President George W. Bush and his unilateralist crew, most of the people laughing at us do not think we are evil. What they think is that we are naive and incompetent.
For female directors, there's a whole other set of things we have to think about, particularly when we are casting men, because there are some actors who have never been directed by a woman. Crew members, too.
As an actor on sets, I've always clocked how hard the crew works, how much longer their days are, how much lesser their glory is - and the fact that their commitment to the work and project is unwavering, no matter the budget.
If the crew is hit by the situation that we're trying to portray, I think we get a real and a stronger moment with the camerawork and the actors.
I always talk to all the crew. I always make it pleasant. I always nurture a relationship that makes people feel like they're important, like they're a part of the collaboration. I feel that way about the young actors on set. I don't talk to them like I'm the mentor; I talk to them like they're my peers. And I learned that from Meryl Streep.
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.
Our crew guys, it's amazing what they have to go through to make a show happen every night.
It comes down to building your own world out here on the road. It's who you surround yourself with. My band and crew are really positive guys.
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.
Early on, I played a Chinese delivery person, and even that, which was very innocuous, felt like I was somehow betraying myself. I felt very self-conscious on set doing that role, with a crew that was almost entirely white.
Ah, the Wrecking Crew! They played on everything that came out of L.A. Oh, that was a good band. You really enjoyed going to work. You played for everyone; it didn't matter what it was.
Wreckin' Cru was a DJ crew. They used to call it that because it was the guys that came in after the party was over and broke down the equipment. We eventually made a record, and we had the costumes on and what have you. Back then, everybody had their little getups, you know, like SoulSonic Force, UTFO.
The Sea Shepherd crew is doing what governments should be doing, but refuse to do themselves, because of the threats of trade retaliation from Japan.
When I was a kid in the mid-'60s, I was what's known as a moddie boy, a prototype skinhead. You all had your hair like a crew cut, cropped, with suits or Levis with red suspenders, sometimes Doc Martens. It was a thriving soul music, Motown and ska scene; we used to dance to Prince Buster and the Skatalites.
I live in Vermont, and we don't have a tax incentive there, and therefore, we don't have professional crew there.
Their crew for 'Arrow' is just one of the most wonderful crews that I've worked with. I know that actors say that all the time, and it sounds like trash coming out of my own mouth, but it's so true.