A Quote by John Ratzenberger

I'm still really into set design and construction when I do films. I notice that stuff. — © John Ratzenberger
I'm still really into set design and construction when I do films. I notice that stuff.
At our company, our Design and Construction Consulting Service Team not only helps eliminate the risks inherent in the construction process, they typically save our clients 5% - 10% on overall construction costs. They also help make sure projects come in on time.
With fashion, you really need to understand the aspects of construction. Not just design on an iPad.
I always like to do sound design, and in movies, you have more leeway with that, but I don't really notice that sound design is being used in TV other than just location sound.
I paid my way through school doing set construction for film and television. I'm a member of Local 44. I was a construction coordinator on 'Beverly Hills 90210' for 4 1/2 years and ran their whole construction program. I did two other pilots as a coordinator for Aaron Spelling.
If you're writing a screenplay for a feature, you don't have any involvement with the casting process, the editing process, the set design, the costume design, or any of that stuff.
Graphic design is a hobby that I started with back in 2010-2011, which I am still doing today. And because of that, I was able to design my own stuff and designed my own logo.
I don't really need new stuff anyway. I like to make big stuff, and it's too expensive to travel with. So I have my refined set that works well, and I'm pretty much set with that.
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."
Making movies in France is different, but it's still acting, you know. You still have doubts and you're scared, always, but I really love doing films in America, because I love to speak English. But I think there's something very entertaining about American films. But I also like the intimacy of French films.
When I stepped out from doing films and had a dark period, I never did anything dark on a set, so I never made enemies on a set. I never was a bad girl on a set; I always considered films a really sacred space, so when I had my problems, I had them very much away from the film community.
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.
For years I thought I was just a writer, but when I sat down to design and started playing around with it, I realized that, really, it's pretty easy. Obviously it's more than just a set of rules, but the basics of design are actually pretty simple and quite mathematical. The link between data and design works at quite a fundamental level.
I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
I didn't come from a background of films. I didn't even really ever watch films. The fact is, my parents weren't into that stuff, and neither was I.
Nineteenth- and early-twentieth-century exponents of prefabrication were certain it would supplant age-old traditions of individualized design and handcrafted construction. The building art would be revolutionized by freeing designers and construction workers from repetitive tasks, and democratized by making high-style architecture more affordable.
For one thing, I am still working as an adviser on fashion, design and colour and stuff.
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