A Quote by Richard Jenkins

I don't watch the dailies. You want to just turn in your resignation when you watch the dailies. — © Richard Jenkins
I don't watch the dailies. You want to just turn in your resignation when you watch the dailies.
I do miss the idea of the crew getting together to watch dailies after work. I will usually get selected dailies printed on film especially for the early part of a shoot as HD dailies really don't tell me much photographically.
I never watch the dailies. What I usually do is have a look at the rough or final cut, and I just get something from the story. Sometimes I start composing even before the director has shot anything. The dailies don't help me at all.
Brian De Palma was one of the rare directors who wanted us all to go to dailies. It was like a party. After shooting The Boy In The Plastic Bubble, we'd all walk over together, at like 5 or 6 o'clock, to the little theater. And we'd sit down and watch the dailies from like, the day before. And John Travolta, whenever I came onscreen, he was just laughing hysterically. He just thought I was a riot.
I cannot watch my own dailies, ever. I'm my worst critic. It distracts me. I can watch it when it's done, but I'm not the girl that wants to run back and look at the performance.
I don't watch dailies. I don't pretend not to read reviews, I just don't. I wait for it to come on the air, just like everybody else.
I don't like to watch dailies or video playback unless I have to.
I have a choice - I can either watch all the dailies, or I can follow the social media. I can't do both.
I used to watch dailies and felt I had to keep on top of the character, but I don't feel that any more.
You want to give the person as much freedom as you can within the boundaries of being a responsible producer with a contract to a studio. It's about giving as much freedom as you can, and the more the filmmaker proves he or she is on the track that you feel good about, then you just kind of watch dailies.
When I'm making a movie, I never watch the dailies. I see the movie once and that's it. It's really not about that for me. It's not about the externals. When I'm on a set, I don't want to see it. I want to be subjective in it. That's my habit now.
I think when you watch the dailies, the film that you shoot every day, you're very excited by it and very optimistic about how it's going to work.
Ridiculously - fortunately - my first job was with Dustin Hoffman. I had a little part in this movie called Tootsie. And he taught me how to watch dailies. That it was very important.
And then my editor really likes that because he's left alone to do what...to create those things instead of me breathing over his shoulder and I like it because I don't have to sit in the editing room all day. I get to watch just dailies.
I like to turn on the TV and watch whatever's on. Nick Kroll does that a lot. He doesn't watch important shows. He'll just turn on a documentary on Mia Hamm and watch it for an hour. Whatever's on, we watch.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
Every day is still exciting. I have like a very good system worked out with my editor. Some directors are in there every day, sitting there in the room with the editor. I lose perspective incredibly quickly, and so what I do is I watch...I come in the room and give very specific notes and then I go back to my house or in my office and I watch the dailies.
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