A Quote by David Warner

On film sets, people get put down in public a lot. — © David Warner
On film sets, people get put down in public a lot.
I'm just one of those people that if I sit down to watch a horror film, I put my hands over my face and I cry a lot and I don't see half of the film because I'm too upset.
I was spending a lot of time in trailers, you know, on film sets surrounded by film people.
I spent a lot of time on film sets with my dad at work, and as a kid, that's a very appealing thing, to watch grownups get to play dress-up and pretend that they're different people - and then get paid for it!
It's very rare to get a film script that has good dialogue. A lot of the time, you spend on film sets really fighting to find out how to say the words.
The Internet is the new public space. And because women are out in public, people don't like that in much the same way that if you're walking down the street you get harassed. I think the same kind of thing happens online, and I think that's why a lot of women are hesitant to put their voice out there.
Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.
You make a film and you can't really pick the way it's put to the public. You control the content, but the way it's marketed, or the poster, or what they're telling the public about the film, it's beyond you. Some people don't even see them, because they think they already know it. That can be frustrating, when something you've done is marketed in a way you think is antithetical to what it is.
At eight o'clock the curtain goes up and that's it, you're out there with yourself, the audience, the other players. There's no "take two" business. You're on. The great thing is the rehearsals, too. When you're bouncing around on film sets and TV sets you don't really get the opportunity to - generally speaking - rehearse much. With theater you're kind of four-to-five weeks locked down in the room with the guys figuring stuff out. It's back to play school.
I've been on a lot of film sets, and I've always promised myself I wouldn't create a set where people dread coming to work.
I don't know how to put this, but to some people, the NFL is basically modern-day slavery. Don't get me wrong - we get paid a lot of money. There's a sense of 'shut up and play,' that this is entertainment for other people. Then, when we go out in public, we're like zoo animals. We're not human beings.
I like stand-up. But I'd also like a family and house and a yard. I want to work with a lot of people, have colleagues; and on good film sets, there's people there that work with the same people for years and years. I love that collaborative spirit in that medium. Comedy is a lot more solitary.
When you do a film like 'My Soul to Take,' and people think it sucks, that hurts. We put a lot of work into it, and it's a good film, but you go on.
I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"
In people's minds, I'm a comic, so it took a lot of time before I was recognized as a director. I had to be patient until the public accepted me. As a result, my early films didn't get a lot of attention. As a serious film actor, things didn't take off, either. Only my comic talents were recognized.
Everyone in the Lotus Eaters is so concerned with appearances, but there's an emptiness under the surface that they're trying to ignore. We talked about the theme of perception versus reality a lot with mirrors and masks what people were wearing - and we shot on two formats; we shot it on film and on digital, and a lot of the night-time scenes are film, and it looks better, and people can put on a mask and they can go out there and show an artifice to the world.
I think I spent my entire childhood on film sets, surrounded by film-makers and actors and people with magnetic energies who make movies.
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