A Quote by Max Greenfield

I just never want to be in this situation where I get to set and they're like, 'We rewrote this scene, you're now naked.' I need a little prep work. — © Max Greenfield
I just never want to be in this situation where I get to set and they're like, 'We rewrote this scene, you're now naked.' I need a little prep work.
I just never want to be in this situation where I get to set and they're like, "We rewrote this scene, you're now naked." I need a little prep work.
With physical prep work, you know if you go to the gym, you will get size. There's no chance it won't happen. The emotional prep work is a variable. You could step onto the set one day and have a disconnect with your thoughts and feelings and have a rough day acting because you can't quite tap into what you need.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
It's a lot of pressure. Some of the cast wants a StairMaster on the set so you can work out like crazy before your naked scene.
I'm naked in Esquire in August. I was naked on the set the other day. I'm always naked. I'm naked right now, in fact.
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
There is so little time on a set to build up a working relationship with a new member of crew. It is tough to be polite, especially in an extreme location where we will not get a second chance to get the scene. It is such a stressful process that I like to work with people I know and can trust.
I always say to every actor, and to people that want to get into this industry, to just try to be on set as much as you can, try to go to acting class, and try to work on your craft because there's nothing that can prepare you, like just when you get thrown onto a set and you've got to work.
Now we also need people who just love to listen to the music. And we need people that want to work to facilitate it. That want to do work, have somebody like Bret Primack, the jazz video guy.
I never like to sit and discuss my character, the other character, our relationship, or anything like that. I feel like if I did my job and I trust that the other person has done theirs, you just go on set, play around with it, chew the scene for a little bit; then we roll, and that's it.
I want to live my life naked, with all my little naked kids naked in the garden.
It's very rare in our lives that we're like "Ooh, I'm going to really screw this family up." You just don't. You work from a place of need, like I want to finish this movie or I want to feel loved at that moment or I need empathy right now. And then, you do things that are questionable.
I think backstory is really important to know because I'm all about prep work. I like to do all of my work right away, as soon as I get it. I'm incapable of procrastinating on anything, so I like to do all of the work.
I don't get the jitters and I don't get nervous, because I build that comfort on set for myself. Sometimes if I'm gonna do something really crazy, it helps me to yell or look like an idiot on set, so that when I'm about to do a scene, I've already embarrassed myself. I find ways to work around getting the jitters.
I like to tell students, 'I didn't burst on to the literary scene.' I'm never good at things at the beginning. I was terrible at the start. I need to work and work.
I work out every day just to keep in shape. I feel like I never want to get stuck in a position where when you need somebody with great arms, you call Anthony Mackie. That hasn't been the calling card for my career, and nor do I want it to be.
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