Quotes About Production

When I'm shooting, it averages out at a 16-hour day. You have two deadlines everyday - lunch and wrap.

Cable shows do 13 episodes. I get that. I can wrap my head around 13 episodes. You make them all, you post them all, and then you get to air them. The network cycle is way more intense. There's more episodes.

By the time 'Dumbo's Circus' wrapped production of its 120 episodes, I had an agent, and I had scored my first feature film gig.

In Bollywood, it is common for shoots to have unexpected delays and go well into the night, but shoot schedules in the South are mostly wrapped up by evening, unless absolutely required.

If you just hold your cell phone for 30 seconds and think backwards through its production, you have the entire techno-industrial culture wrapped up there. You can't have that device without everything that goes with it.

Here in Bengal the production has to work under more pressing schedules partly caused by monetary reasons as the shooting has to be wrapped up within a limited number of days to prevent cost overrun and hence there is not much scope to rethink and alter.

I remember Wrestlemania VI, being in my locker room painting my face, about halfway done, and the production guys came, and they knocked on the door, and they came in. I was looking in the mirror at them, and they said, 'Hey, Warrior, we've got a cart to take you to the ring.' I just looked at them, and I said, 'I'm running to the ring.'

If you watch wrestling like I do, you watch for the wrestling. There's so much talking. There's some 'twit' back there with a pencil behind his ear writing down all these things for wrestlers to say.

And you know what - and I don't mean this in tongue in cheek way - but it's like deja vu. When I walked in to WCW they were producing wrestling on a little teeny sound stage at Disney, okay? I'm walking into TNA and they're producing wrestling in a little teeny sound stage at Universal.

When you're doing a television production, or you're with a company, there is some stress; there is pressure to perform, and it's a little tougher, but it also comes with the benefits of having huge television exposure and wrestling in front of a bigger crowd.

Basically, Marvel always have an executive on every film. So we had Kevin Wright. And there's kind of a Kevin Wright on every production that is essentially your producer, but they're also the Marvel gatekeeper, I guess, or the overseer.

There's a way in which filmmaking is a director's medium and television is a writer's medium, so even as TV gets more cinematic, it's still guided by the writer.

One of my favorite things about working on 'Liv and Maddie' is the creative environment that has been designed for us by our lovely director, producers, and writers.

Nowadays they have 12 directors and 15 producers and 30 writers. And all the writers want their lines said a certain way-which isn't necessarily funny. I mean the lines aren't necessarily so funny to begin with.

Stargate by far is the top of the pile when it comes to Sci-Fi. The quality is great. They have really good writers, production design, lighting, wardrobe.

What we need is more women writers, writing for older women. There are some actresses who have production companies and create their own material, and I truly admire that.

Writing is fantasizing about what your film will be like. Shooting is reality. And the post-production is recovering the idea you had.

If I am writing a movie and I am stuck, I can call the studio and tell them it's delayed. You can't do that with television - you have air dates to meet.

Once we really get the full measure of it—we're slow learners, we women—we dry up in disgust and sensibly halt production. But men don't dry up, Melena objected; they can father to the death. Ah, we're slow learners, Nanny countered. But they can't learn at all.

Capital is no longer the invisible center governing the production process; as it accumulates, it spreads to the ends of the earth in the form of tangible objects. The entire expanse of society is its portrait.

The spectacle cannot be understood as an abuse of the world of vision, as a product of the techniques of mass dissemination of images. It is, rather, a Weltanschauung which has become actual, materially translated. It is a world vision which has become objectified. 6. The spectacle grasped in its totality is both the result and the project of the existing mode of production. It is not a supplement to the real world, an additional decoration. It is the heart of the unrealism of the real society.

system, as the advanced economic sector which directly shapes a growing multitude of image-objects, the spectacle is the main production of present-day society.

In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles.

Le spectacle est la principale production de la société actuelle.