quote by Channing Tatum

I've been on so many movies. Generally, I haven't gotten to be on the ground level. As of two years ago, in 'Dear John,' I got to really be on the ground floor. I wasn't a producer. I felt like I put the work in, and I did have a lot of sway on what got fixed, reshoots, so on and so forth. It felt really good.

— Channing Tatum

Most Powerful Reshoot quotations

I'm intimidated every day I go on the stage and everyday I go on a movie set.

It's terrifying and I always want to reshoot the first day or the first week, I'm so terrified.

I've never heard of a comedy that hasn't had reshoots, especially for the ending of a movie in a comedy.

We had shot six episodes of the West Wing season when 9/11 happened.

An extraordinary thing that would never happen today is Aaron going to the network and saying, "I think we need to go back and reshoot, I have something I want to do," and the network just kind of let him do it.

I was going to be credited as Wray Nerely, my role in Con Man.

It got cut in the reshoots. I was like, "Wait a second. I'm cut." It's a better telling of the story, but unfortunately, Wray Nerely gets cut, which is actually exactly right because if Wray Nerely was ever in Star Wars, he wouldn't make it to the final edit.

I'm not one for doing the children's party version: "Hi, I'm a character in a movie and now I'm in reality!" I was doing the last shot of the film before reshoots outside their shop. I was starting my run into the frame and I thought, "You are literally ending where this began. The loop of serendipity's too much to not go in and acknowledge it." I just wanted to see the look on their faces.

I can't tell you how many reshoots I've done from, you know, famous photographers who really love just to shoot models and failed at shooting a Patti Labelle or someone like that because Patti Labelle didn't turn them on, so you have to shoot what you care about.

I'm happy to say that I have not been fired off a film.

The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.

I think quite often when you have a hell of a lot more money and time, as you very much do on a big studio film, you don't necessarily have to make the decisions right there. You can always goback and reshoot it.

Everything in comedy's got to be exactly right, which is why making a comedic film is kind of a difficult process, because, for most of the two years of shooting it and editing it and reshooting and all of that, it's not quite right. And it's only when you just at the end, you put the final polish on it, it becomes really funny again.

I'm telling you, if you want to have good advice, never pay any attention to the camera guys because they will tell you over and over something is wrong and let's reshoot it, let's do this and let's do that. Hey, just do it.

I never ever see a film of mine after I release it to the public.

I see it when I shoot it in my dailies and while I'm editing it, re-editing it and reshooting it and all that. By the time it's finished I never want to see it again.

In films you do a scene, you play around with it and unless you're doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.

Being on set is a hard thing. A lot of people are like, oh, you get to make a movie, and it's all fun. But the reality is, it's a lot of hours. It's a lot of reshoots; it's a lot of waiting. And you can become increasingly agitated by the amount of time that you are waiting. But that's real.

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