Quotes About Sets

In showbiz sometimes, we're a little disgruntled our budgets are low, sometimes our buildings aren't that great and the sets aren't so cool, and all of a sudden you have these security teams showing up poking around on set and you're on high alert.

I am greatly impressed with the BBC's TV adaption of Charles Dickens' 'Bleak House.' The costumes, the sets, the acting and the screenplay are all superb. Every episode is riveting.

One cannot forget that show business also deals with humans. Everything is not so superficial that this is rigged or planned. Sometimes people do fall in love with each other because they spend a lot of time on the sets so much so the set becomes your first home, and your actual home becomes your second home.

The selective activation of compatible memories explains anchoring: the high and the low numbers activate different sets of ideas in memory. The estimates of annual temperature draw on these biased samples of ideas and are therefore biased as well.

I love being on film sets even if I'm not acting in the film, and I'm fascinated by the work of the director of photography.

Atmosphere on the sets of 'YHM' is absolutely brilliant. It's kind of picnic always, and we have a gala time shooting together.

We had four different sets and built 38 flats to use as walls, so we had a major production going on. It's so much fun when you're controlling it, but it's also so much pressure.

I was the Playmate editor for 'Playboy' for two years. I produced two years' worth of centerfolds. I did everything on that, from picking the girls to designing the sets to picking the wardrobe, coming up with themes, assigning the photographer, down to editing the photos and approving the retouching.

I want to be behind the scenes, and learn more. What cameras to use, what lenses to use, what shots I want to get. And it takes time, so being on movies and sets, I just learn.

I got my first baseball cards as a four-year-old, the 1989 Topps set. I got every Topps set after that.

When I was a carpenter, I built sets for small storefront Chicago companies. Like, I built sets for friends of mine at The House Theater.

I grew up on movie sets, so it was something I just found familiar. When I was growing up also, in high school, I would audition for things and my parents let me audition for things - with the thought that I wouldn't get them. And then I would get them... sometimes, and it would surprise them.

When I'm looking for DJ sets and stuff to drop, I look for music that I feel is gonna get the reaction I want from the crowd.

Debt is a trap which man sets and baits himself and then deliberately gets into.

I built stages and I did stage management - I think I built the sets twice, I happened to be good with a drill, which is a talent I didn't know I had.

Radio is truly the theater of the mind. The listener constructs the sets, colors them from his own palette, and sculpts and costumes the characters who perform in them.

Not only in probability theory, but in all mathematics, it is the careless use of infinite sets, and of infinite and infinitesimal quantities, that generates most paradoxes.

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.

To me, spending millions of dollars recreating the world's sadness with actors and props and sets - it seems like a kind of arrogant waste of money... Unless, that is, it's a film about an historical event.

On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.

I've been on lots of movies where we've done a lot of planning of sets - how much you build, and is this big enough, and will this get us what we need? - just with foam-core models.

When you have the cast, the sets, the lights, an opera takes on its own life. I'm not one of those directors who marches in with a set of plans.

In every high school, there is a clique.

Albums are a journey, and I even find that as a DJ, with less than two hours, I can barely communicate anything. So I like to play long sets.