Honestly, I love television. I love the idea of going to work every day and getting to know your crew and having a rapport with your directors and having a family of cast.
I worked on 'Blue Peter' and 'Tonight' and lots of TV plays, filmed people like Rudolf Nureyev and Ted Heath, and ended up a senior cameraman with my own crew. I'd had my first short story published in 1947, and when my writing really started to take off I decided to go freelance, and eventually left the BBC in 1965.
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.
The television anchorman Dan Rather turns up in rag-top native drag in Afghanistan, the surrogate of our culture with his camera crew, intrepid as Sir Richard Burton sneaking into Mecca.
The chance for mistakes is about equal to the number of crew squared.
Travelling with work. I went to Iceland with GMTV last year and I went to Lapland twice with Classic Gold. I also went to America with Keith Chegwin, which must have been a nightmare for the crew, as we're both hyperactive.
On the day of the game you get there quite early, about 10 o'clock for a 3 o'clock kick-off, because you do a little bit of filming early on. You need to meet the crew and they need to have time to get a cup of tea and all those things the crew like to do before they go out filming.
It's never happened to me before, in my career, and never will again. It's a one-off experience. It's a rare treat to have a cast together for six years. Crews come and go, and a few of them have been there throughout, but not many. It's rare, in my experience, after 26 years, to have had a proper company in a show that enjoys each other's company, and who is such a fine bunch of people and actors. To have struck a chord with people, and to have had that combination, is extremely rare.
I'm so thankful for my family and friends - they're really supportive. Everyone I work with on 'Austin & Ally;' the cast and crew are like my family now. We have so much fun, and I'm so happy they're in my life!
Auden, who asked two things of an imagined world-that it be somehow like ours and somehow unlike-would be Ben Marcus's ideal reader, yet even without the poet's dire program, I am altogether taken by this hilarious and sexy alternative universe. Just imagine! it is all done with words instead of mirrors, so much more reliable and so much more heartbreaking. Thus Prospero enthralls his crew.
A man may own a ship, but unless he is captain of a crew he goes where the ship goes.
Being on a set where the director has lost control is just sickening. No one goes the extra mile, theres a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.
When you get to work with great people like on our movie, Blake and Ellen Burstyn and Harrison and Kathy Baker, Amanda Crew, the first minute or two it's like, 'Oh my God, I'm working with you,or Harrison,' people you've admired for so long, after like five minutes you realize we're all trying to do the same thing, we all have a passion for telling good stories and we're going to try to make the story the best possible.
Film is the cheapest part of the movie making process. The expense is the 100-man crew and the financing and everything.
I'm getting so old - it's more uncomfortable to do those scenes now than when I was 20. I mean, I don't have a big problem with nudity on screen. But usually the days when you do those naked love scenes are the weirdest ones on set. Everyone is uncomfortable. You're like, 'Hi. How are you?' Then the next minute you're with an actress who you don't know and you're pretending to make love to her in front of all the crew. The acting challenge is pretending things are OK.
You don't have to have all this film stock, you can work faster, and you don't need a giant crew. It's great.
I don't need 15 houses. Owning real estate doesn't mean much to me. I don't like to think about things like that. I don't need 12 boats, or even the world's largest boat with a crew of 80. I'd have to take care of them, to worry about them. I get a lot more fun out of life without all the bells and whistles.
I don't know about you, but I love showing my ass to a crew of 300 that I've been working with.
There're always some notorious people in the crew who are doing crazy things, but I try to keep it a little more low-key. My crazy thing is always just the show and putting all my energy into it.
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.
It's a lot harder to keep your cool than it is to lose it. That's on any work ethic. Even if you're a big producer on a movie set, or whatever, it's a lot harder to be a pro than be a baby on your crew. That's one work ethic to keep in mind, as one bad apple could give five people a bad day, when that one person could've stepped up their own efforts a little more and not bring anyone else down.
I think I can work with different crews; I've worked with Bulgarian, Norwegian, Japanese, and Chinese crews. For me, the most important thing is the storytelling, and I'm really comfortable working with all kinds of languages.
That's the first rule of command; be consistent! You can be sadistic, you can be lazy, you can be stupid, but if you're consistent the crew will still let you sit in when they play dominoes.
I love that hip-hop can still provide jobs for niggas to get money and to put their crew on. I would never say that hip-hop is going down. It's cool, but it needs an adjustment. I think that hip-hop just needs a little fine-tuning.
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.
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