Film Set Quotes Page 2

The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.

Encouraging people to believe in it was the most important thing of all.

It's one of the reasons I was always uncomfortable whenever film crews came on the set to shoot things. I didn't want our make-believe to be exposed.

On set is where I feel comfortable. The red carpet stuff, talking about the film, explaining your own life, it doesn't come naturally. It's all necessary stuff I suppose but it's not my strength.

There is so much to do on a film set.

It is an extraordinarily invigorating and wonderful place to be, when things are running well.

I just wanted to do this all Australian film and we didn't want to give creative control to overseas 'cause whoever comes on my sets, whether you're sweeping the floor or an actor, it doesn't matter who comes up with the ideas, it's a collaboration.

It's hard not to get a big head in the film industry, there are people on a set paid to cater to your every need, from the minute you arrive until you go home. It's kind of strange, but not unpleasant.

If you do two versions of a film, they should be identical. With the same frames and settings.

Nothing spooky or terrible happened on set, but we were told to say it had.

We were giving a press conference and the writers were going on about these terrible things that supposedly happened while we were filming.

Your own barometer is all you have to go by, and often what makes a good director is knowing when not to say something. On occasions you can find yourself on a film set where the person who is wearing the director's hat is only trying to justify his position.

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

I'm more likely to lose my temper on a film set than almost anywhere.

Often the level of idiocy is so exalted that it's impossible to comprehend.

I don't know anything about making movies.

I'd never been on a film set. I'm really kind of an idiot when it comes to figuring out where objects are in space. If they're both moving, I can't do the math. If you ever see me driving down a road, go somewhere else quickly.

Donald O'Connor was in the film [ 'Singin' in the Rain' ] as well, and he was only 27 years old. So we were closer in age, and had more fun together on the set. Gene was more my teacher and mentor.

I really didn't know what I wanted to do.

I went to art school and tried a bunch of different things, but I knew I wanted to do something in the visual arts. And I'd always been around my dad's film sets, so the interest was there. But I didn't have the guts to say, "I want to be a director," especially coming from that family.

And it's about a three-month process every screening.

And that way we have seven or eight chances at the film before we have to actually build the models, build the sets, do the animation and all of that. So it's a - I think that's a real key to the way we make films.

When you're filming in Russia in Catherine's Palace, and you're in the real place where the Tsar's ball really happened, all those years ago, it does so much of the work for you. It's so vivid. You escape into this different time through the costumes, the sets and the atmosphere.

I used to like to set different film clips to classical music, not even my own songs, but make little movies.

In a funny way, acting, to me, is all make-believe, even if the film has unicorns in it or is a normal movie that can be set in real-life time. I'm still imagining that I'm a different character, so it's all, in a funny way, like fantasy.

It's always scary making a film as I never set anything up or ask anyone to do anything, so I worry that we'll find a story. I have to trust that a film will come out of the journey we embark on. I have many, many sleepless nights.

In terms of drama school, what that will give you that you won't necessarily learn on a film set is the technical ability - ie, projecting your voice and stage craft.

I think the dictator director is based upon stories from the past.

I don't think anyone would put up with it now. There are a lot of people on a film set with egos. So, to be completely authoritarian, you'd probably have to have a reputation like Kurosowa or somebody to get away with it.

[Stanley] Kubrick was a fascinating, larger than life guy who had been a friend for many years prior to our working together on that film. I found the best part of working with him to be the long conversations we had between set-ups.

Making a Hollywood film you don't have a very big movie because they have a Safety Captain and insurance people on the set. They have to check first. 'Don't do it. Let me check. Make sure everything is safe.'

A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.

I grew up loving action movies and films that were set in supernatural, unimaginable places. So I take being a woman in the film industry who is able to do action movies very seriously because I'm making the kind of movies that I wanted to watch as I was a kid and that inspired me and are the reason as to why I am here.

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.

Some people manage to make that transition from child actor to adult actor seamlessly. But I felt that if I spent my whole life on a film set without taking a few years to do something else, all I would ever know about was film sets.

I am not a master-class director. I am not a teacher. I am a coach. I dont have a methodology. Each actor is different. And on the film set, you have to be next to them all.

I am a firm believer in The Paleo Solution.

I maintain a hectic schedule that starts early and finishes late. Filming a television series, maintaining my fitness, and being a mom can be harrowing some days. Since adopting a Paleo way of eating I look and feel better, and I know that I am setting a good example for my daughter.

Directing is more what I would like to get into eventually.

Frankly, I feel like it would be a waste if I didn't because I've spent so much time on film sets, and I know how they work, and I love them, and I love leading them. I would like to do that as a director definitely.

But the truth is, at some point, our films - almost every single one of them - are really bad. And it's largely hats off to John Lasseter and Ed Catmull who have set up a system whereby they're expecting it.

What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.

They put me in an office with the TV set up and said "Here's the tape.

When you're finished writing your copy for the little trailer you're going to do, you'll come out and show it to us and we set you up to go edit it." I turned it on and it was just this hardcore film and I was like, "Oh my God, I've fallen down the rabbit hole."

47 Ronin is a very special movie for me.

Not only a Samurai thing. Not only a Hollywood fantasy. It has a very special mixture between Japanese traditional culture and Western culture for the costume, set, story. Everything. I believe it will be a very special film that no one has ever seen.