Zitat des Tages über Filmset / Film Set:
I get quite fed up being on a film set day after day, six days a week. It can get to be a grind.
When I walk onto a film set, I become frightened and nervous. There's all this equipment, all these people, and most of them do things you don't know how to do. I didn't come from a film background.
I don't feel isolated on a film set. In a way you do because you don't really mix with the outside world; you're just sort of working non-stop for a few months, but you've got so many people around you.
You have to think about what you want to do. There is nothing to say that you should study from the age of 20 to 23. I learnt more on a film set at 17 than in the classroom.
Nothing can teach you what it's like to work on a film set, and the best education there can be for an actor is to walk up the street and observe human nature.
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.
Most of my life, I've been on a film set. There isn't anything to learn, not learn, unlearn. It's just in me.
When I'm working with Red One, we all have to do everything, from making sets and costumes to tearing tickets. Forget about craft services! So when I get on a film set, it's a thrill to be just working as an actor.
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.
I get terrified the first day I'm on a film set. I get nervous walking down a red carpet. I find making speeches the most terrifying thing in the world.
It's very tempting to over-eat all the bad things when you're on a film set.
We all know that people who've never been on a film set think it's way more glamorous than the people who work on them.
My experience of children on a film set, especially on a big film set like the 'Potter' one, is not wholly positive.
I'm more likely to lose my temper on a film set than almost anywhere. Often the level of idiocy is so exalted that it's impossible to comprehend.
I always try and learn as much as I can from different departments on a film set.
Every morning when I wake up, I am grateful and happy that I come to the film set. It is home.
There was one titanic guiding light on the film set, and I was in the presence of a true Mahatma, in the deepest and most profound sense of the word.
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.
One of the best things - and something I'm grateful for every time I walk onto a film set - is my six and a half years on Dawson's Creek and the experience it afforded me in how to get comfortable with the camera.
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.
A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.
I don't feel that fear is a good incentive on a film set.
It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable.
I could be equally happy on a film set or in the middle of a field.
On a film set everyone is very cool. Well, blase really.
I'll say initially acting was my first love, and that's what I pursued. But then, so far as even my first day on a film set, and just watching how things were set up, I just said, 'I think I want to be in charge.' I am very much type-A. I am a bit of a control freak.
I always feel scared and insecure on a film set. I don't know any other way.
There's a lot of pressure on a film set that's more immediate than the pressure in the theater where you're nervous about what's going to happen next week.
There's nothing like the discipline of having to work on a cold film set on the Danubian plain in Bulgaria. Boy, does it get cold.
I think I was born to be a clown. I just haven't figured out how to bring that side of myself into the world of filmmaking. It's much more comfortable for me to cry on a film set than it is to tell a joke.
Mike Leigh taught me about making choices - as an actor, you choose between being honest and clever, and with Mike, it's always about being honest. I learned how to behave on a film set from Jim Broadbent. He was a great example of someone with a fantastic career who kept his feet on the ground.
I'd love to work with Sir Anthony Hopkins, but if that doesn't happen, I'd sneak on to a film set and watch him at work. He is a compelling actor.
There can be a lot of waiting around on any film set.
A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.
On a film set, for me, there's so much more time to process what's going on than there is on a television set. There's more wiggle room to try things and fail and try again and get to the heart of what's going on in the scene, which is really fun for me. It's what I like to do.
I did every odd job you could possibly imagine: Holding a sign in the rain for 14 hours straight, sweeping up cigarette butts, pouring coffee, running around - anything I could to be on a film set. I wanted to be in the business. So I'd say, 'You need that job done? Fine,' and I became indispensable to people.
