Quotes About Set

Shivajinagara' is set in Bangalore's Shivajinagar. We shot most of the film on those busy streets.

When you have a great intimacy coordinator on set - which Bridgerton' does - you eliminate all of the stress.

I am calm but on the outside, mostly. When I'm on a film set, the stress is so humongous that I'm dying inside - I'm extremely stressed, but I do try, and... well, I don't try. I think it's my natural reaction to not externalize things.

It's so nerve-wracking to be on a set. They're the most stressful place in the world, because you're making something permanent, and there are so many people relying on you in a lot of ways.

I believe that if I come home from a stressful day on the set, I just have to leave it there.

You can play slide on any guitar, but to be serious about it you have a tough set of strings, otherwise you don't get the full attack - you can't dig in.

Shooting against greenscreen... my choice of filming is, like, I'd rather shoot on location than shoot on a set, and I'd rather shoot on a set than shoot against greenscreen. You start stripping away the layers of reality, and it becomes a lot less fun to actually film.

Because there's no structural barrier to joining 4chan, the community is really dynamic; for every five people that leave, five new people join, bringing their perspective and culture. A lot of other communities get set in their ways.

We've always had the sensibility that you work on the set, and you structure it, much like a play, where once you've got the lines down and blocking right, you freeze it, and then you go out and do what you're doing night after night. You want to structure something that has form and that builds the right dynamic from start to finish.

I struggle to learn by rote. I've had meltdowns on set. Which is embarrassing and shameful.

I wanted to set 'Heading Out' in a real world, a concept I originally struggled with, as I don't have a proper job.

I like to come to the set with very strong ideas and strong opinions about how to do things. And I like also dealing with somebody who's like that.

I figured, 'When is that ever going to happen again?'. So I basically set out the opposite way movies are made; I set out with a budget first. I said, 'What can I do well for $40,000?'.

'Orange Is the New Black' was my home show. I knew the set; I knew everyone there.

I was on the set of 'Braveheart' and my mate says to me, 'Do you think this film will be any good?' And I really meant this, too, I told him 'Let me put it this way - It won't win any awards.' Cut to: five Oscars.

I take a script and mull over it and underline the bits I want to emphasize. When I go to the set, I know exactly what I want to do.

I actually find it's one of the things that lifts me up every day, coming to work and just seeing people always overcoming. That's something that I think a film set does so well all the time.

Each operation had a set of instructions, the relevant dimension, and how the process was done, all laid out in what was called in most shops "the book.

I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.

Some things are so silly they have a certain brilliance to them. Other things, set as standards for brilliance and therefore exalted by many who don't know why, become tarnished because of it.

It can be argued that the mathematics behind these images [of the orbit diagram for quadratic functions and the Mandelbrot set] is even prettier than the pictures themselves.

Rather than feeling that every moment you've got to exert this enormous control, you can take the attitude that your job as a writer is not to control everything, but to set things in motion.

Designers and free lance artists and editors can set their hourly rates by dividing their annual income needs by 1000.

Then set the hounds loose, boy - it's time to kick demonic ass!