Film Set Quotes

I don't feel that fear is a good incentive on a film set.

Film is like tech starts on the first day of filming and it never stops. There's never a moment when the audience comes in, you're just in tech forever, and I can't stand being on a film set. It's really tedious.

I was spending a lot of time in trailers, you know, on film sets surrounded by film people.

There's no point in it unless it's a story that you really want to tell. It's a nebulous job. Unless you're doing it well, you're not doing anything. And there are a few of those. It's perfectly possible to be a passenger on a film set because if somebody else has written it, you can make nothing of that role and that's exactly what bad directors do.

It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.

I've always been quite good at watching someone do something and then picking it up, so I turned that talent to watching people on the film set, and just saw how small everything was and how intimate the scenes could be.

As soon as I saw myself beginning to be way too comfortable on a film set or TV set, and not stimulated by it the way that I had been that had brought me to want to be there professionally and creatively, was the moment that I started getting really, really sad. I decided, "Okay, I just want to actually be here, how can I make this be interesting for me?"

If I die on a film set when I'm 80, I'll be happy with that.

I used to not listen that much, but I've really learnt to listen to other people and to really listen to what they're saying. I've found, especially being on a film set, people have so many different stories; if you just listen, you can pick up so much stuff. I try to listen as much as I can.

Every film teaches you something; every experience on every film set with every co-star teaches you something. You learn something new. I think the challenge is to keep working harder and doing better.

In film, I find it very useful always to do some preparation before you start rehearsals or start shooting, because there's so much that's against you on a film set.

On a film set everyone is very cool. Well, blase really.

There's an incredible comfort level that I have on film sets because it's where I've grown up.

A film set is a workplace for me; it's my office, and nobody really wants to be in a stressful work environment.

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.

On a film set, we're all glorified troubleshooters, really, as directors. It's not if a problem arises. It's when.

Its always really surreal, being on a film set, but inside a beautiful, massive scene.

The idea the actors are the most important people on a film set I think is very stupid. Actors are the most replaceable people there. There are literally millions of us. There's very few people that can operate a steady-cam. The numbers are a lot, lot fewer for that, you know?

I've always been fascinated by Elizabeth Taylor, and I had read that her first kiss happened on a film set, which actually made me a little sad. You need to have normal experiences of your own.

A lot of actors on film sets... very often they're not paying attention to the physical world around them. I think through studying art, I've always had that awareness and that's something that I've wanted to bring in to go beyond acting... As a form of expression, they are intrinsically linked.

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've been on lots of film sets. I've produced films and written films and been around, so it wasn't my first rodeo in terms of that stuff. Nothing particularly surprised me, I have to say. I came in and I enjoyed the first day and I enjoyed the last day.

Film sets are great fun. Film people are great people to hang around with. I don't want to run off and be distracted by other things.

It's hard to get yourself into a position where someone will trust you to direct a film anyway, whatever sex you are. Certainly in England, the film set is a very male preserve. There's a lot of very rough looking men pushing equipment around that don't want the gaffer to be a girl.

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.

I always try and learn as much as I can from different departments on a film set.

I usually befriend the camera department very early on in the film and drive them nuts. I'm constantly bombarding them with questions and going through the stills photography. A film set is a great place for me and I love it.

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.

Ridley creates a very immersive world, so when you walk up to a Ridley Scott film set you're in Ridley Scott's imagination, and it's a really comfortable, cool place to be.

It's a little hard to avoid putting both war and politics in, in that they both come into the activity, but on their own. My basic idea is to do a great love film set in the hell of 1942. At that moment, hell was Leningrad. Underneath all this, of course, is a film about dissension between the two most important countries in the world, the United States and the Soviet Union. I think it is a must at this point to talk about cooperation instead of the rancor and hatred and competition between nations.

A film set is really delicate and people treat you very very well if you're an actor because they want you to be as comfortable as possible for you to do your work, but it really is just one in a team of many and usually 150 people.

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.

On the film sets of 'New Moon' and 'Eclipse,' I feel safe. It's like you're in the center of the hurricane, but outside is where it starts to get chaotic.

I love film sets, but I don't necessarily love being the center of attention.

I'll do anything to keep everyone laughing. Things get too intense on film sets. I remember on The Elephant Man, I used to imitate a cat without moving my lips. David Lynch would say, "Cut! Sorry, we've got a noise somewhere on set." Everyone would be looking around for this cat.

The first time I ever thought about doing a film seriously, I was in London. I was about 17 years old. I was just standing in the street, a bit dazzled by an Antonioni bus wipe, which by the way are inherent in London, and I imagined a film set in London starting out with the riff from The Yardbird's "Heart Full of Soul", and now, how ever many years later, I've done it.

The movie, like the book before it, is an expertly built machine for the mass production of tears. Directed by Josh Boone 'Stuck in Love', with scrupulous respect for John Green's best-selling young-adult novel, the film sets out to make you weep - not just sniffle or choke up a little, but sob until your nose runs and your face turns blotchy. It succeeds.

When you get to really involve yourself with a piece [script] and the other people and you get to feel like it's a community and you're all building something together, it helps me to produce better work, I think. And there's an exhaustion that happens on a film set - an exhaustion that translates into a relaxation and helps me to live in the moment, in the performance I'm giving and what's happening around me.

All sizes of film sets have the same level of excitement and friction and tension and then vast sections of boredom that define the process, so I love it all.

For me, acting is about the art of it and it's about being on a film set and doing your thing, painting a blank canvas.

I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.

It's very tempting to over-eat all the bad things when you're on a film set.

For me, you go to university to meet lots of different people from different backgrounds. I think that's one of the most important things you get there. And you also get some sense of direction regarding what you want to do when you leave. I sort of know what I want to do in my life - I want to act and ultimately I'd like to write. And in terms of meeting people from different backgrounds, that's what you get on a film set. So the two most valuable things that university would have given me I've sort of achieved by being on a film set.

I remember being on Atonement and it felt very right to be there. There was so much excitement every day. I remember very vividly how it felt to be a child on a film set, and that is actually really important to hold on to for as long as you continue to make films.

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.

As actors, we need public relations to campaign for our next possible role, and any media promoting our work seems positive in nature; but whether in theater or on a film set, a bad unprofessional photograph at the wrong angle may not be as flattering to some actors, and may be considered a harmful exposure.

Film sets are constantly amusing because you really are creating something that is so very surreal, and I kind of like that.

I realize I have a lot of amazing opportunities, but I don't know how you can play a human being going through real human experiences without being able to walk down the street. If you can't live a real life, how do you play a real person? It always confuses me when actors work back-to-back-to-back with no break. If you live your life on a film set, how the hell can you relate to real people? You don't know what its like to not have people fussing over you all day, and that's not life - that's silly movies. I will always want to take breaks and I wouldn't be OK with losing that.

I remember being on film sets when I was younger, and only men got to do the cool action movies. So I thought, 'Maybe I'll get to produce one day and get to do cool stuff too,' which is what happened when we did 'Charlie's Angels.' Starting my production company was a big turning point for me.

My brother knows more about film sets than I do, because he works at New York Film Academy.