A Quote by Chris Eigeman
I like a no-drama set. I welcome visitors by and large; I like music playing on sets between set-ups - all that stuff.
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One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.
I feel like a lot of music producers have, like, the same toolbox. And I think, like, to me, as a producer, like, I want something to set my stuff apart.
I don't really need new stuff anyway. I like to make big stuff, and it's too expensive to travel with. So I have my refined set that works well, and I'm pretty much set with that.
When you're a lead role, I'm learning that you set a tone for the movie in a way, like a director does, or like other actors do. But it seems like you set a mood on set.
When I'm on the set, I'll come up with ideas if I'm sort of just between responsibilities, because there's a lot of sitting around on set. Invariably, though, the stuff I come up with on the set tends to be bad.
When I'm on set, I'm always waiting around for people to move the cameras so I can try to squeeze in press-ups and sit-ups between scenes.
No one set that I ever do is the same. I mean, if I go to a comedy club, and I perform three sets, all three sets are different because anything can happen in between sets.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
I really like a lot of American country stuff, so my music has that influence, but I don't like to be set within a genre. It feels very limiting.
First stop when I'm on set is my trailer. I like to set my stuff down and lock the door. Be in my own space for a few minutes.
I don't think you should spend that much time in the gym. Don't sit around between sets too long. If you want to burn some calories, keep the sets tight. Give yourself 30 seconds to a minute between each set. Supersetting is brilliant.
I think you keep two sets of books. In one set, you record the truth -- how well you are really doing. This is the secret set -- just for you and loved ones. In the other set are more modest entries and statements, and these are for public consumption!
I don't like stuff that can only go into one set; I want stuff that can be applied across sets. It's a more real Lego building experience. And, of course, it's the same from a manufacturing point of view. I want elements that are universal; that gives me the best economics and best utilisation of the mould.
I like sets that feel small. Sets that feel really big are difficult. When you're on a big set it feels like there's constant mis-communication.
I have set and always will set my face like flint against making any difference between one citizen of this country and another on grounds of his origin.
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