A Quote by David Krumholtz

To go to L.A. and be on the Addams Family set? It was beautiful production design and an illustrious set. I'm focused on never losing that sense of privilege. I'm still like, "I'm super lucky."
I had to take a break to set up my production company. Managing a production house is a different ballgame. It's not like signing a film and arriving on the set.
Everyone that works under the Coen brothers , in every department - makeup, hair, production design, wardrobe, so on and so forth, grip, lighting, tech, everything - they're the best. So to be on a set when you're working with the very best in the industry was a real privilege.
Losing my parents really set me adrift in more ways than one. It's not just losing them. It's losing the possibility of family.
I do not have a history in set design. I have a history in art. I draw. But I learned set design when I couldn't afford to have a team and I didn't want to look like I was indie. I wanted to give fans the visual.
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.
Nut shrugged. "Set had always been Set, for better or worse. But he is still part of our family. It is difficult to lose any member of your family . . . is it not?
You're basically on set to help the production. You're helping the actors make it make sense, or maybe you wrote something that doesn't work in the production sense. Most of it is coming up with jokes.
When I go to set, I try to make it a warm, inviting and happy set. We're all coming to work creating something, hopefully, beautiful together.
Simultaneously, my two biggest heroes are Susan Sontag and Morticia Addams from 'The Addams Family.'
I grew up on Charles Addams' cartoons, particularly 'The Addams Family,' and Uncle Fester was always one of my favorites.
On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.
I like people who are still actively creating in their life, who aren't set, I don't feel like I'm set. And I don't have any baggage, for better or worse. I don't have any plants or pets or kids. I can lock the door and go. I need to be with somebody for whom that's okay.
People have different goals, when you start out making a movie. If the goal is darkness and destruction and despair, it's not like, "Hey, let's go to set, and then let's hit the bar afterwards. Let's jaunt into London and pick up some Chinese food." No, you go home from set and you go fight at the gym, and then you go to sleep. You stay in it. You never excuse yourself, you never take it easy on yourself, you never eat good food.
On the New England Patriots losing the Super Bowl after going 18-0: We set high expectations, now we go down as 18-1, and that is one big zit. It is one big blemish. We choked.
Being on a Michael Bay set is... well, it's the only set I've ever been on. But I would imagine there's no set that's run quite like it. It's big, it's loud, it's powerful, it's intense, it's dirty, it's hot, it's sweaty - and it's really exciting. There's never a dull moment; there's never a quiet moment.
I’ve always lived out of a suitcase. I was in a new city every three months. When I was a model, I traveled the world, and as an actor you’re traveling from movie set to movie set. So I’ve never been in one place long enough for anything super-bad to happen.
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