It got hard to juggle the funny on set and then even harder in post-production.
And then to see the whole movie, you're pretty much waiting until the end of production. And the major lifting in terms of editing and all that stuff is done before you shoot the movie. That's an unusual way to work.
Working with the actors, working with production designers, working with the creative people who surround the process is really fun, it's really inspiring and I take great pleasure in working with them. That's what's most fun about directing.
I'm happy to entertain kids you know. It's my biggest pleasure to like see a twelve year old picking up a book that I did and dreaming about being a comic book artist. That's what the magic is, everything else is just production and a job.
I don't think too much about the past when I am actually playing, I prefer to concentrate on the present. The performance of a piece, no matter how long ago or where it was written, is always a new production, something that comes alive in the present. And it doesn't matter if the piece was written two or three hundred years ago if it is alive in us.
When I started producing it was right at the beginning Channel 4 in England. Nicholas Nickelby which was my first credit as a producer was Contract 001 at Channel 4 - that was the start of independent production in England and the emergence of an independent sector.
When I did Nicholas Nickelby originally, that was a co-production between the new Channel 4, Polygram in Europe and Mobil Oil in America, and I have been involved in working on co-productions for years on both sides of the Atlantic and that's very much at the core of what Playground is doing. So marrying, finding projects that can be co-produced and can be produced using the very best talent from both sides of the Atlantic that's absolutely right at the center of what Playground is doing.
I always follow the rules. No fake co-productions. I know how to make content agreeable and acceptable.
Growing up, I was always in the kitchen. Even in third grade, I made cooking videos called 'The Little Italian.' Very little production value, but it was good.
I had known David Ham and Marco Santiago from having met and worked with them on The Cross and the Switchblade which we worked on together at Times Square Church. We joined together as Trace Life Media to be a directing/producing team to be able to assist churches in the production of a play in their own community or to bring a fully-produced productions - something that will be ministering to the Body of Christ.
Jesus was a storyteller with amazing messages wrapped around them. What we want to do is get back to that. I'm not a preacher. I'm not the person on Sunday. I am the person that is trying to figure out life and wants to be pushed to be a better person. The first one that we're in production with right now is called Nouvelle Vie.
There are films that are difficult. There are films that would actually affect your personal life because of the length of the production, how long [you're away] from the family.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
I'm a writer. That's who I am, at my core. I'm a writer, and then I learned production and administration, along the way. I feel like most people can learn it because production and the administration part is all about logic, and it's all about learning rules and budgets.
Writing is like that. You have to have some basic creative spark, and then, if you have that, I feel like you can learn the production side of it. You can learn how to be a good producer. And I guess it does take a certain balance of those two skills in your head to be a successful showrunner.
When we're shooting, I commute to the UK, every three weeks or so, and that's hard. That's probably the toughest, physically, on me. It's a much longer commute than I've ever had to deal with. And then, there are the challenges of this particular production. It's not the kind of show that has standing sets.
After you get a season under your belt, you learn a lot of lessons. It's a much bigger challenge, logistically, in terms of production.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
Heaven, in the production of things, is sure to be bountiful to them, according to their qualities. Hence the tree that is flourishing, it nourishes, while that which is ready to fall, it overthrows.
I enter into discussion and argument with great freedom and ease, inasmuch as opinion finds me in a bad soil to penetrate and take deep root in. No propositions astonish me, no belief offends me, whatever contrast it offers to my own. There is no fancy so frivolous and so extravagant that it does not seem to me quite suitable to the production of the human mind.
It is not for nothing that artists have called their works the children of their brains and likened the pains of production to the pains of childbirth.
By fashion and built-in obsolescence the economies of machine production, instead of producing leisure and durable wealth, are duly cancelled out by the mandatory consumption on an even larger scale.
I think the music of the Fifties is really good. I suspect it's much better musically than much of what's available now. Not in terms of production, but in terms of content.
The goal of liberalism is the peaceful cooperation of all men. It aims at peace among nations too. When there is private ownership of the means of production everywhere and when laws, the tribunals and the administration treat foreigners and citizens on equal terms, it is of little importance where a country's frontiers are drawn... War no longer pays; there is no motive for aggression... All nations can coexist peacefully.
In the theory of psycho-analysis we have no hesitation in assuming that the course taken by mental events is automatically regulated by the pleasure principle. We believe, that is to say, that the course of those events is invariably set in motion by an unpleasurable tension, and that it takes a direction such that its final outcome coincides with a lowering of that tension that is, with an avoidance of unpleasure or a production of pleasure.
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