Quotes About Set

Advance twice, set to partners… change lobsters, and retire in same order.

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.

When I'm directing, I noticed I'm not using my subconscious at all. I'm literally using the whole front part of my brain all the time. When you walk on the set, every moment you have to be there because something's going on that requires attention.

And that format was - we'd been using that format, I guess, since the late '70s, and it was starting to get very predictable. In other words, certain songs would surface in the same points in the set every so often; it was like rotation.

My experience with 'Transparent' has completely spoiled me because it was the safest, most transpositive set ever. I didn't have to worry about all the usual things - like when people have a vision of your transness that you're not comfortable with. When they don't know the correct gender pronouns by which to refer to you.

Every little opportunity and chance that I get to be on a set, to be a director, to utilize the skill sets that I already have and to learn what I don't know, and to see how I can improve upon that is just a really great opportunity for me.

I don't have the talent of Daniel Day-Lewis. I'm Steve Austin, so when I get to hang out and be who I am, and I live on set, it's like a paid vacation, man.

Examples would indeed be excellent things were not people so modest that none will set, and so vain that none will follow them.

Growing up on set, the director is the person that, as a child, you admire and gives you validation.

I think there is a real value in an editorial point-of-view and in editorial curation, and in putting together an entire narrative around a set of topics is important.

I come home more exhausted after a day of emotional work on set than I've ever had in any sporting event I've played or anything. It's draining. But it's also part of the fun.

I like to prepare as much as possible beforehand, but there's definitely that element of fear when you're on set, and you have to be conscious of it and use that fear to drive you to work harder.

I hang out with all the crew on set. It just makes it easier to work. You feel more comfortable around everyone.

Every single job is a challenge. You are walking into a new set, a new character, creating a world and trying to get comfortable to do your best work.

I had an idea and I wanted just to make it work. And I am never, ever secure on the set that what I am doing is going to translate to the screen. It never changes.

I do lots of crowd work in my set, because I enjoy writing material through riffing and conversation.

I love going to work. I love being on-set everyday. It feeds me; it's exciting.

Ive always been very comfortable in a set environment. All the collaborating going on, seeing how actors work - it all excites me.

There are times when you work with directors on set, and things are a bit rudderless, and those can be good directors.

When you have to work with and exist amongst cynical, burned-out personnel on a set, it doesn't matter what you're shooting or how much you're being paid - it's not worth it.

On most TV shows, you work on a set and do some location.

The truth is, I just love to work. I love being on set. I love being around crews. I love being around my fellow actors. Anything that can keep that going is a joy for me.

Practical application is the only mordant which will set things in the memory. Study without it is gymnastics, and not work, which alone will get intellectual bread.

When you're actor, you have no idea how much work goes into pre-production. We're just sitting in our trailers waiting for someone to knock on our door to go to the set.