It all depended on the cut. Some of them were really on the ship. Some were really on the set. Like if they had the stars for a week, the stars coming off, that was usually on the set, except if we were on location for that particular show.
I don't really set out to explore grand themes. I set out to tell a story. And one I have to be able to imagine right through.
The one important thing you do as boss is you set the standard. The minute you go in and say 'we'll let it go this time,' you set a new standard, which is lower. So you cannot do that.
I don't believe that someone who sets up an institution should be able to take out the money from the institution or pay dividends to shareholders. I am not saying that institutions should be set up for charity.
I was sure I'd set the world on fire, and it was hard for a young feller like me to realize the truth - that I hadn't set the world on fire, and I was totally unprepared to handle the consequences if 'The Big Trail' had been a success and launched me...
Our job is to represent the truth of human nature, whether you're playing a tender love story that's set in a coffee shop or whether you're in 'The Avengers,' which is set in a Manhattan which is exploding.
For you, it's a silent movie. For us, it's a talking movie because we had lines on set. There's a lot of noise on set and music. We spoke in English, in French, in gibberish, but it was very alive. The challenge was tap dancing.
I figured, 'When is that ever going to happen again?'. So I basically set out the opposite way movies are made; I set out with a budget first. I said, 'What can I do well for $40,000?'.
You can ask any set decorator on any set where I've had to be in an office, I always kind of claim it - I put Post-its everywhere, and I kind of make it look lived-in.
As an actress, I always felt like the people you met on set were interchangeable with the people you met on other sets - the grips, the gaffers, the actors, the directors - everybody steps into their role.
I've learned a lot about what kind of actor I want or do not want to be while being on set. I sit back and observe how other actors treat the totem pole of set politics.
There's something terribly weird about the standard fantasy setting--not least of which the fact the phrase "standard fantasy setting" can be uttered without irony.
When the poor man sets a trap only his dog gets caught.
A mule who goes in search of a fine set of antlers, will come back with his ears cut off:
How can you put out a fire set on a cart-load of firewood with only a cup of water.
Don't set the attic on fire just because you didn't catch any mice.
In the lean approach, companies are taught that prices are set by the market and that one way to improve profit margin is to reduce costs. This thinking flies in the face of "cost plus" thinking, where we look first at our own costs and set prices ba...
The educated man pictures a horde of submen, wanting only a day's liberty to loot his house, burn his books, and set him to work minding a machine or sweeping out a lavatory. 'Anything,' he thinks, 'any injustice, sooner than let that mob loose.' He ...
Satan never wastes a fiery dart on an area covered in armor.
I can’t talk you out of what your heart is set on. I just hope you set it on the shelf, next to my book.
They were Archer's second set of children an d paragons of contemporary teenage cynicism. They enjoyed setting fire to the tails of tender thoughts.
