A Quote by James McAvoy

Until I'm on the set of a film, to me it's still not for real. — © James McAvoy
Until I'm on the set of a film, to me it's still not for real.

Quote Topics

In a funny way, acting, to me, is all make-believe, even if the film has unicorns in it or is a normal movie that can be set in real-life time. I'm still imagining that I'm a different character, so it's all, in a funny way, like fantasy.
The cinematography and the conditions in which 'Meru' was filmed drew me to the project. It's remarkable to think that everything in the film is real; these three men set out to attempt this impossible climb and to film it at the same time.
'Faults,' in a lot of ways, is still is a heightened film, but the end of the day, it's the real world. It's in '86, is the arbitrary date that I've set. And so I went about it in a more realistic way.
I have always loved John Turturro, but I think it wasn't until being on set with him - that was a real pinch me moment for me.
My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.
I admit that I've been beaten up so many times in films, but we do not fake it - we actually have to fight when we shoot to make it real and to save film and time. Even the props that are not real, like the bats are plastic, but they're still very hard, so it still hurts.
[ Felicia Day] is really figured it all out, and it was impressive. It was nothing like our set, because her set was like working on a real film.
I get to work with incredibly talented young filmmakers and students, and their attitudes and relationship with film is still so pure. That re-inspires me and reminds me why I got into it and what I love about film, and allows me a little reprieve from the business side of it. And it rekindles my love of film.
Light inspires me. I'm drawn to architecture, often graves, statues, trees - things usually that are quite still. I've been taking pictures continuously since 1995 until the end of Polaroid film. I'm taking very few pictures nowadays because I have very little film left, most of it expired.
My experience of children on a film set, especially on a big film set like the 'Potter' one, is not wholly positive.
I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.
When I got back to my cell, I said, 'God, I asked you to set me free, not kill me.' God spoke to me and said, 'Andrew, I have set you free from the inside out, I have given you life!' From that moment on I haven't stopped worshipping Him. I had never sung before, never led worship, until Jesus set me free.
I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.
It used to annoy and frustrate me to have to come in and audition. I would say to my agents, 'Haven't they seen this film and this film and this film? They know what I look like... They must.' Until I directed an episode of 'Roswell.' And all of a sudden, I realized why that was such an important thing.
Like, on the 'Parks And Rec' set, I still feel like I'm a guest star. Being a fan of the show, it's really surreal to be on the set and see that it's not real, and getting to know the actors and they're not their characters.
Even during 'Udta Punjab,' I didn't say much until the film was out. I feel it's incorrect to talk about a film until everything falls into place.
This site uses cookies to ensure you get the best experience. More info...
Got it!