Its always really surreal, being on a film set, but inside a beautiful, massive scene.
On a film set, we're all glorified troubleshooters, really, as directors. It's not if a problem arises. It's when.
Film sets are constantly amusing because you really are creating something that is so very surreal, and I kind of like that.
Your own barometer is all you have to go by, and often what makes a good director is knowing when not to say something. On occasions you can find yourself on a film set where the person who is wearing the director's hat is only trying to justify his position.
There is so much to do on a film set. It is an extraordinarily invigorating and wonderful place to be, when things are running well.
I certainly don't feel like I am desperate to run away from a film set. I love the hustle and bustle. Everything is sort of mad right before a take, and then it just settles, and you've got these two minutes of a bit of magic. I just love that in film.
I could be equally happy on a film set or in the middle of a field.
A film set is a workplace for me; it's my office, and nobody really wants to be in a stressful work environment.
All sizes of film sets have the same level of excitement and friction and tension and then vast sections of boredom that define the process, so I love it all.
I always try and learn as much as I can from different departments on a film set.
There's an incredible comfort level that I have on film sets because it's where I've grown up.
For me, acting is about the art of it and it's about being on a film set and doing your thing, painting a blank canvas.
Crewing and being on film sets is kind of like being in the carnival, with carnie folks.
On a film set everyone is very cool. Well, blase really.
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.
Every film teaches you something; every experience on every film set with every co-star teaches you something. You learn something new. I think the challenge is to keep working harder and doing better.
I used to not listen that much, but I've really learnt to listen to other people and to really listen to what they're saying. I've found, especially being on a film set, people have so many different stories; if you just listen, you can pick up so much stuff. I try to listen as much as I can.
I get quite fed up being on a film set day after day, six days a week. It can get to be a grind.
It's very tempting to over-eat all the bad things when you're on a film set.
The best times I had on film sets were the times the director let me express myself, but those were rare.
If I die on a film set when I'm 80, I'll be happy with that.
Some people manage to make that transition from child actor to adult actor seamlessly. But I felt that if I spent my whole life on a film set without taking a few years to do something else, all I would ever know about was film sets.
It can take a long time for some people to find out how to ground themselves, and film sets are an odd atmosphere to do it in - especially if, like me, you finished school early.
Ridley creates a very immersive world, so when you walk up to a Ridley Scott film set you're in Ridley Scott's imagination, and it's a really comfortable, cool place to be.
I'll do anything to keep everyone laughing. Things get too intense on film sets. I remember on The Elephant Man, I used to imitate a cat without moving my lips. David Lynch would say, "Cut! Sorry, we've got a noise somewhere on set." Everyone would be looking around for this cat.
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