In this week's Academy Originals was talked to several filmmakers to find out what they learned in their first film gig.

From actors to directors to writers the message was similar: the hours were long and the work was thankless... but memorable.

"I think I worked for $65 a day: 18-hour days, six days a week," writer / director Brett Morgen ("Crossfire Hurricane", "The Kid Stays in the Picture") said. "I learned very quickly it was going to be a long route from P.A. to the director's chair."

In this week's Academy Originals we asked several filmmakers what's the biggest lesson they've learned so far in their career.

"I've worked on over 140 films," sound mixer  Steve Pederson said, "and you think by that point you've done it all, so there's some formula... and there isn't."

In this week's Academy Originals, actor/comedian Harland Williams talks about collaborating with the Farrelly Brothers and how he came up with his iconic lines in "There's Something About Mary" and "Dumb and Dumber."

In this week's Academy Originals, costume designer Janty Yates takes us through her process on making  Russell Crowe's "Gladiator" costumes. 

Yates explained that for every set of armor she created for Crowe she needed to make many more for various reasons.

"We had to have four for the actor, four for the stuntman. You have to have some for the riding stuntman and the fighting stuntman.," she said. "You [also] have to have clean, bloody, and muddy [costume]." 

In this week's Academy Originals, costume designer Kym Barrett takes us through her process of creating Keanu Reeves' sleek Neo suit for "The Matrix Reloaded." It turns out making the costume was just as futuristic as the trilogy. 

"Often we're using 3-D printing, we're using all kinds of new textile technologies," Barrett explained, adding, "we're inventing machines to do things."

In this week's Academy Originals we meet with costume designer Judianna Makovsky, who takes us through her process of creating Chris Evans' stealth  costume for "Captain America: The Winter Soldier".

Makovsky said one of the challenges to creating the suit was trying to make something that looked like kevlar but wouldn't restrict Evans' range of motion.

"So we had to create a fabric that was actually stretch but had a printed texture so that it looked like it was a hard fabric," she explained. "It's actually made of about four or five different fabrics." 

In this week's Academy Originals we asked several filmmakers what is their favorite line from movie history.

Tom Arnold, Bryce Dallas Howard, Molly Shannon, Frank Marshall and others answered with lines from "Jaws," "The Godfather," "Star Wars" and many more.

In this week's Academy Originals we visit three filmmaking members of the Marshall family: Penny, Garry and his son Scott. The trio explained elements of their directing skills, helping actors with their lines, and the benefits of hiring family members on films.

In this week's Academy Originals we sat down with writer/director Ernest Dickerson who recounts the story about hiring a young (and relatively unknown) Tupac Shakur in the gritty film "Juice".

"Tupac at that time was still a background singer and roadie for Digital Underground," Dickerson recalled. "And while we were shooting he was always writing," Dickerson added, suspecting that what he was writing were some of the powerful tunes that people have been listening to for decades now.

In this week's Academy Originals we learn from costume designer Jeffrey Kurland what was his process of creating the costumes for the George Clooney / Brad Pitt remake of the Rat Pack heist film.

"Everything in the film was designed for each character and made for each character. Every suit, every shirt, almost every tie. The palette was their own but it also had to meld together so that it made sense. So that it looked like a group that was meant to be together," Kurland explained.