Quotes About Production

My job was to give 'The Secret Life of Pets' production team lots of options when it came to Duke. So that's what I always tried to do.

If you look at the international markets, for projects that are capital-intensive, the minute the construction phase is completed and production is supposed to start, normally all these loans get refinanced.

The most creative phase of a film is in shooting, because structure is the defining element of that phase.

You know, this iPhone, as a matter of fact, the engine in here is made in America. And not only are the engines in here made in America, but engines are made in America and are exported. The glass on this phone is made in Kentucky. And so we've been working for years on doing more and more in the United States.

The film industry needs to confront the physical footprint of the way films get made.

The physicality of a production needs evolution and breath.

My feeling is, from when I started on 'Breaking Bad,' there's no reason to pick and choose because every episode is great. Whatever episode you get, you're lucky to do it.

When I work with Dre, he usually does more than 100 records and then picks his favorites.

A green-light meeting is when the decision is made finally whether or not to make a given picture.

We cut a few corners and brought the picture in under budget by $25,000, so Paramount let us go back to Boston with a small crew to shoot some additional footage.

People in Hollywood are going make pictures where ever it's the least expensive to make them.

Doing a piece on film is completely different from doing it onstage.

I've composed a fair amount in my life, and some of them have made it on to the screen, some compositions that I've done, a few. And I like doing that. I had never really considered doing a full-length thing. I've worked with other people creating full-length pieces.

You really get to direct the movie three times when it comes to the action sequences and the set pieces.

I would absolutely be interested in doing a Broadway production if it was the right project. But my dream is to be writing pieces of theater for my best friends and putting on plays in New York City and seeing our vision come alive. I just hope to always be creating.

I wrote probably my phattest banging record with Knife Party: 'Pile Driver.'

I want every pillow shipped out the day we get the order.

I'm shooting a pilot based on my show. It's a one-camera show. I play myself.

When you're doing a pilot, you're doing it in this bubble that almost works against the creative impulse. You don't have time to get to know the actors first, and you have three writers, as opposed to a room full of writers.

The pilot of 'Seinfeld' was made and dropped. 'Seinfeld' was not supposed to go to series.

I'm going to go do a Netflix series. It's straight-to-series, 10 episodes, probably go for three seasons. I'm going to direct the pilot and hopefully the last episode of the first season. The show is 'Seven Seconds.'

The most important decision you can make as a showrunner when you're doing a pilot is who's in it and who's directing it.

I know that some people think differently about pilots, but I really enjoyed shooting 'Awakening'.

We were shooting at the Kodak Theatre and to see my production company's clap board in front of Sylvester Stallone was overwhelming, I had to pinch myself. It was a magical moment. It was a different high.