A Quote by Cassandra Clare

My grandfather was a movie producer, and so I grew up on movie sets. — © Cassandra Clare
My grandfather was a movie producer, and so I grew up on movie sets.
I grew up on movie sets, I'm comfortable on sets. A movie set is like a circus. I don't understand why moviemaking has to be such an insane environment.
I love movie sets. It's another home for me. Movie theaters and movie sets - they're just the best places to be. I love them.
I grew up on movie sets and traveling the world with my pops.
I grew up on movie sets, getting to see storytelling happen up close.
I grew up backstage and on movie sets, and I thought they were the most magical places on Earth.
Oh, my father's had a huge, immense impact on my career. I grew up on movie sets that he was working on, and it just become a part or was a part, was the only part of my life because I spent my whole childhood traveling and being on film sets.
I've never seen a movie director who was happier to be directing a movie than Dave [Mamet]. His sets, everyone who's ever been involved with one of them will tell you of the funnest, funniest sets you can be on.
I think I'm an extremely conscientious producer and now equally as a director and it gives me the opportunity to look at the entire movie and really allow the movie to be the creative vision of the actors, the writer and myself, because I'm in charge of it from a producer and a director point of view.
I grew up in Memphis, Tennessee; I went to college in New Orleans before moving to New York City for graduate school. Both sets of my grandparents grew up in rural Mississippi and brought a lot of agrarian knowledge to Memphis, which is an urban center in the South. Both sets had amazing backyard gardens. My paternal grandfather, practically every inch of available space was green.
Telltale signs that your movie is going to go bad is, one, the producer of the movie flees the country.
A producer is supposed to generate an idea for a movie. And then they're supposed to create the team, the group of people that are gonna make this movie. And within that team, the producer has to have a creative vision and a fiscal vision, and they have to adhere to both things.
Even in our business, as is the world, we are in the age of specialisation. You see a lot of names of producers on a movie. If you have the idea, if you oversee the development, if you oversee the production, if you help package the movie, you sell the movie - you can be a producer. There's not a lot of us who do the whole gamut.
If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.
With 'Hail, Caesar!' it was about all the skill sets I had to learn, but each movie requires a different way of working. You're a piece in a new world, and there is always a difficult part within that world. For me, it's not consistent from movie-to-movie, each film has a central challenge.
I studied fine arts and architecture, but I decided to move into movie design because I grew up in a small town in the Marche region and spent a lot of time after school in the movie theater.
In every Kubrick movie, there is so much great thought put into the surroundings. It's almost like the sets are huge characters in the movie at all times.
This site uses cookies to ensure you get the best experience. More info...
Got it!