A Quote by Jason Bateman

It's a really exciting thing to collaborate with production designers, cinematographers and gaffers and costume designers and editors and composers. — © Jason Bateman
It's a really exciting thing to collaborate with production designers, cinematographers and gaffers and costume designers and editors and composers.
I cannot draw to save my life, and I'm not a big art scholar, but I worked with many designers throughout my career - in theater, in dance, costume designers, set designers, and I have a lot of artist friends and I do photography, and I think it's kind of in my life.
The movies I did before were movies with a lot of characters, a lot of locations, and low budgets, which meant that I was running all over the place and never had the chance to build a relationship with an actor. I was always having big, strong relationships with the cinematographers or editors or production designers, but not with the actors.
Set designers, costume designers, actors, writers, music, that's what is beautiful.
A lot of people love Tarantino’s films because they’re spectacular, they’re beautiful, they’re wonderful. He hires the best group of artists - not only actors, but everyone around: best photographers, best set designers, best production designers, costume designers. A lot of people love his films because they’re bloody, they’re gory, they’re savage. But very few people see that he’s a very political director.
I make films but I am trained as a designer. I come from this series of designers called critical designers, speculative designers.
With 'Suffragette,' I was emboldened that there were so many women around me. We had a female writer, producers, production and costume designers.
Designers have been uncreative and very arrogant. They need to listen to people. People have always wanted more exciting, interesting design, but we designers didn't see it.
There's something about the fashion world that I like, which is, I see a lot of the designers really have affection for other designers.
I am a lifelong career artist, which itself is a bit of a miracle. It's really challenging to be a career artist. I would say that the argument for grant funding is not only did my movie do some social good - hopefully it opened people's eyes - but you created a working artist. I'm hiring cinematographers, I'm hiring production designers, I'm hiring producers.
As designers we have a great responsibility. I believe designers should eliminate the unnecessary. That means eliminating everything that is modish because this kind of thing is only short-lived.
Anyone who thinks designers don't talk to editors, and editors don't talk to stores doesn't know what's happening...It's called crossover, sampling all references in music, art and fashion.
I think if you took away all the designers and automated the process tomorrow, the end result would be really, really dissatisfying and disturbing to a lot of people. So, I think there's a lot of value that print designers have.
The modern designers are quite showy, and a lot of the young people really like it. Costume jewelry has always been about being noticed and not discreet.
There are only a handful of designers that influence other designers, and I have to keep one step ahead of the game.
Nothing will turn you into more of a 'Star Wars' fan than being on a 'Star Wars' set. When you see how lovingly that world is rendered by the set designers, costume designers, props department, art department, they genuinely build an actual world. That is not an exaggeration. They build a world.
Australia has produced amazing costume designers that are unheralded.
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