When I was doing 'In the Heights,' I was the co-music supervisor for 'The Electric Company' on PBS, so I was writing songs all day, doing the show, staying up until 3 A. M. Writing more songs, recording demos in the intermission in my dressing room.

On my first mission, I was the spacewalk supervisor: the person that runs the spacewalk from inside the vehicle. As such, I was the one that closed the hatch when my colleagues left to work outside for six hours. And I was also the person who opens the hatch when they come back, and we repressurize.

My mom had been a script supervisor in Hungary, but you can't just jump into that in Canada without knowing any English. She worked retail jobs and raised my sister and me while learning English.

On completing my degree, I started a Ph.D. in statistics, although I knew very little about the topic. My supervisor was Professor Harry Pitt, who was an excellent pure mathematician and probabilist.

My decision to come to Bell Telephone Laboratories immediately after obtaining my Ph.D. in 1936 was strongly influenced by the fact that my supervisor would be C. J. Davisson.

To spend this particular year reading essays to Dennis Robertson as one's supervisor, and, simultaneously, enjoying membership of the group round Keynes was indeed an intellectual treat.

Lester Germer was my first supervisor at Bell Labs. He was the Germer of the Davisson and Germer Experiment that is sometimes referred to in introductory texts on physics.

Films happened to me accidentally when I met Marc Robinson in a hotel in Goa, where my mum worked as a supervisor. I would often go there, and the manager there would see me and tell my mom that I should try being a model.

I've learned that it's important to listen to employees at all levels, to engage them, to empower them. Whether you're a first-line supervisor or the head of an entire agency, you should be asking career staffers, 'What do you think?'

In high school and college, I'd set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a 'Star Wars' movie. And I wanted to work on a project that wins the Academy Award for best visual effects.

I'm actually loving the soundtrack to 'The Secret Circle' that our music supervisor Liza Richardson puts together, like Washed Out and Cults, but my favorite band is Bootstraps.

Any supervisor worth his salt would rather deal with people who attempt too much than with those who try too little.

Maybe it was because my resignation letter was well written, and this attracted the attention of the factory supervisor. They kept me on and gave me a promotion to head up my own newly created department.

I think it's an important part of the visual effects supervisor's job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I'm not proprietary about, 'I would rather do this effect than let physical effects do it.' No, let's do the smartest thing for the movie.

Inside of me, it was like my soul and what I had to do to feed my family was always split. I was writing lyrics while I was supposed to be working. I'd look up, and there's my supervisor.

Lacking a profit motive, workers in the government by and large have a different work ethic from those in private industry. When they could make one call, federal workers take a meeting. When they could find an answer on the Internet, they form a study committee. Instead of appointing one supervisor, they appoint five.

Nico Tinbergen was my doctoral supervisor, and he was a benign, avuncular sort of influence; everybody loved him.

Grissom comes from a place where we know he had a deaf mother, he was raised in a silent household, on some level, had a father who potentially was not around and he learned what he knew by himself in the back yard, with bugs and animals. He's not comfortable being a supervisor and that's his problem.

'Mayabazar' was the film I immensely loved as a kid. Only when I became a filmmaker about 20 years later did I realise its technical marvel and what a great epic it was. I and my visual effects supervisor, while making 'Yamadonga,' took two days to understand the magnification shot of Ghatothkatcha's persona.

I listen to music two ways: As a person, you have an instinctive, personal, emotional response. But as a music supervisor, you have a secondary response, which is, 'Will this sit well under dialogue?' 'Can people die to this?' 'Can people kiss to this?'