"If you fall in love with somebody you're working with, fine, but wait till your project is over"
About this Quote
Schreiber’s line lands like a calm, adult version of the no-dating-at-work rule: not puritanical, just practical. He grants the emotional reality up front ("fine") and then snaps in the boundary that matters. That quick pivot is the trick. It frames romance as something that can happen to you, but insists the consequences are yours to manage. In an industry where schedules are brutal, reputations are fragile, and collaboration is the product, the subtext is simple: desire is temporary; the work is what everyone has to live with.
The phrase "project" does a lot of cultural work. It’s corporate and creative at once, a neutral container that covers a film set, a theater run, a press tour, even a long shoot in a remote location. By choosing that word, Schreiber points to the power imbalance and interpersonal noise that romance can inject into a closed system: jealousy, favoritism, distraction, the awkwardness when the relationship sours but the call sheet doesn’t. Waiting isn’t about shame; it’s about not turning a professional ecosystem into an emotional hostage situation.
There’s also a sly acknowledgment of how acting blurs lines. Performers are paid to simulate intimacy on command; chemistry is both a tool and a temptation. Schreiber’s advice reads like a veteran’s harm-reduction strategy: protect the collective focus first, then, when the stakes drop and the credits roll, let real life have its turn.
The phrase "project" does a lot of cultural work. It’s corporate and creative at once, a neutral container that covers a film set, a theater run, a press tour, even a long shoot in a remote location. By choosing that word, Schreiber points to the power imbalance and interpersonal noise that romance can inject into a closed system: jealousy, favoritism, distraction, the awkwardness when the relationship sours but the call sheet doesn’t. Waiting isn’t about shame; it’s about not turning a professional ecosystem into an emotional hostage situation.
There’s also a sly acknowledgment of how acting blurs lines. Performers are paid to simulate intimacy on command; chemistry is both a tool and a temptation. Schreiber’s advice reads like a veteran’s harm-reduction strategy: protect the collective focus first, then, when the stakes drop and the credits roll, let real life have its turn.
Quote Details
| Topic | Work |
|---|---|
| Source | Help us find the source |
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