Quotes About Set

When I was a boy, I was 15-16, I had a job during the school holidays as an extra. That's how I started. My first time on set was as an extra. I did it for two years. It was amazing!

It used to be for writers that that six seasons and a movie thing, that's the holy grail as writers - your series goes eight, 10 seasons, you're set for life.

I'm definitely a homebody, so when I have an emotional day on set, I have to go home, take a bath, and go to bed.

I've honestly been so lucky. I've never had a job where I didn't look forward to being on set in the morning.

It's amazing how much you can absorb on a film set.

We had a black bear on the 'Hunger Games' set, and that was a little scary.

As usual, it struck me that letters were the only really satisfactory form of literature. They give one the facts so amazingly, don't they? I felt when I got to the end that I'd lived for years in that set. But oh dearie me I am glad that I'm not in it!

My parents were always supportive. They didn't say, 'Get a real job.' They believed in the arts, and they prepared me to be skilled. I'm lucky I can drop into these worlds - into a studio or onto a set or go on stage - and feel comfortable.

I think I approach everything as an actor first. I'd rather walk onto a set and just act and just worry about that.

The journey matters as much as the destination. By engaging in the moment on set, I've stopped rushing and now find pleasure in the collaborative process - the characters, the costumes - rather than worrying about the finished product.

I tend to stay in character between scenes... to be rather serious on set, but here's why, and I think people will find it surprising. I'm one of the worst 'corpses' on a movie set, which means you can't keep a straight face. You start to get the giggles and you can't stop.

I have the worst ear for criticism; even when I have created a stage set I like, I always hear the woman in the back of the dress circle who says she doesn't like blue.

The worst thing you can do as a comedy director is be on set and think of something ridiculous, or an actor comes up to you with something ridiculous, and you say 'No, no that's too much.' Let's not worry if that's too much, let's shoot it, and then decide if that's too much when we see it.

To be on set with Tom Hiddlestone and Hugh Laurie is just fantastic. But during 'Homeland,' I was on set with Claire Danes and Damian Lewis, so I'm used to working with big hitters.

I would like to, in some capacity, observe how Tom Cruise goes about his business when it comes to making a movie and how he behaves on set and how he interacts with the crew because from everything that I've heard, it is the template for professionalism and just the way to conduct yourself as an actor.

For every role, I brought certain elements of the character. Even on 'White Collar' over six years, I tried to keep the set fun and breezy and Howard Hawks-y and very of the tone of the show.

'Chicago' kind of set the bar in terms of how we approach musicals, and tone is one of the key elements.

I would say that all of my experience on any set over the course of my life has helped me in directing 'Save Me Tonight.'

I'm just an actress, so I can leave my work when I leave the set. I don't get strange calls in the middle of the night, and I don't have tons of responsibility.

When I'm on set, everybody always hangs out, especially on 'Euphoria' we're all the same age, so we would do tons of things together, which is a lot of fun.

One of the first things I do when I step onto a set is I scan the set and try to take in every detail, because what I'm trying to find are tools that I can use to incorporate myself into the space and tools that I can use to make the performance authentic and to build on the authenticity of that.

George Pal had total control, and he was there on the set every day. You never met a more charming man in your entire lifetime - what a lovely gentleman.

How Jesus Broke the Rules to Set You Free: A Woman's Walk in Power and Purpose.)

Ever theatrical, Jackie also viewed the home as a grand set: a malleable, working stage on which to play out the daily sketches of life...