A Quote by Hal Needham
My ego would be fed tremendously when I'd go on a set and get in a car and tear it to pieces. I'd get out and everyone on the set would applaud.
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It was a kind of paralysis you would get from tendonitis and I would last about five to ten minutes into the set and it would set in and I really couldn't play.
I would like to get out to the region in the Caspian sea. I would like to go there. I would like to get to Darfur. I would like to get to Khartoum in Northern Sudan. I would like to get to Zimbabwe. I would like to go back to North Korea, if I could. I would like to go to Yemen. I would like to get to Kashmir. Most of those destinations I will get to.
I used to juggle from one set to the next. I would start at 5 A. M. in the morning and would sometimes finish only at 5 A. M. the next day. I would then go home, take a bath and set out again. There would be no sleep at all.
If I had a million dollars, I just wouldn't just completely set back. I'd have to get out there and show my face to all these good people who like me, I have to get out there and show my face. The only thing that would set me back if I get sick or something or pass away, that's all you can do about that you know. But as long as I got my health goin' pretty good, I'll show up around here.
Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!
I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming but it reduces the chances of 'misunderstandings' on set.
I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming, but it reduces the chances of 'misunderstandings' on set.
I had three toy buckets, and I would put hot water in them because we weren't allowed to sit in the jacuzzi - we weren't old enough - so I would charge people $1, and everyone would line up, and everyone would sit in this disgusting hot water-sand-filled thing, and I would get $1 and go to the snack bar and get an Oreo.
I'll do anything to keep everyone laughing. Things get too intense on film sets. I remember on The Elephant Man, I used to imitate a cat without moving my lips. David Lynch would say, "Cut! Sorry, we've got a noise somewhere on set." Everyone would be looking around for this cat.
When you're going for a big studio comedy, the joke tally better be pretty high, and you better have some big comedy set pieces. That was one of the issues when I was trying to get 'Swingers' made for the first time, which is that there weren't any broad comedy set pieces.
I usually shower the night before, lay out all my clothes on the floor, so then I just fall into them, clean my teeth, stumble out the door, get into my car and go wherever it is that we're shooting. You have breakfast on set.
put the car in "d" set the compass to "n" and get the "f"out of there
What would be a perfect day for me? I'd like to fly the Millennium Falcon to a small café outside of Vienna, and there's a PlayStation 3 or an XBox set up there. The family is there, and there would be brand new Star Wars Lego sets so my seven-year-old and four-year-old would be the happiest people on earth. My wife could get a massage and manicure/pedicure. Oh, and pork is being fed to us all day.
If you sign someone with the speed but whose time is over, they will set up the car differently and badly. You are 80 percent of the time going through corners, and you set up the car differently compared to someone who comes and wants to go flat out.
I don't think I could ever have a desk job, so I get to be mobile. I'm on set. I get to walk around kind of doing my own thing, being independent - it's just a really good vibe. Everyone on a film set is very happy, and they all love their jobs, so it's a cool environment to be a part of.
Once or twice a week I would set my alarm for six A.M. so I could get up and plug in Hot Stix...I would study the curls in the mirror, impressed with both the appliance and my newfound ability to use it. Then, without fail, at the last second before leaving for school, I would ask myself, "Am I supposed to brush it out or leave it?" Why could I never remember" That feeling of "I'm pretty sure this next step is wrong, but I'm just gonna do it anyway" is part of the same set of instincts that makes me such a great cook.
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