A Quote by Steven Knight
I visited the set [of Allied] a few times, and it was a great set to visit. A lot of it was in West London, in an old Gillette factory. You'd go into the factory through the security, and then there were a lot of camels and goats. Most sets are really dull, but this was fantastic.
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On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.
We'll run a lot of multiple sets - pro set, twin set, the box set, ... We'll run a lot of option plays and pass the ball more than in the past.
I'll look through a script, and if there's a lot of night shooting I tend not to want to do it. If there's huge party scenes and I'll go through a few pages and say "Well, at least I'm not in this," then the last page my character walks in and says something, I say, "Uh oh, that's going to be three days on the set sitting around drinking coffee at the craft-service table." Unless it's a great part. All in all if it's a great part you'll do it and I'll say, "Well, I'm gonna be on the set for three days."
To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.
My father was a storekeeper at a factory in west London.
Ross Perot came and visited Apple several times and visited the Macintosh factory. Ross was a systems thinker.
I want my people to work hard. But if they see me earning a lot more than they do, they would lose their sense of being owners of the factory, and what I say as factory manager wouldn't stick.
I'd grown up knowing all about Don Bradman and visited his museum in Bowral quite a few times and absolutely loved the place and then to go back there and receive my baggy green and play my first Test match there at the oval, and obviously my parents were there and a lot of family and friends, it was really cool.
Social Security was designed to give a few years of modest benefits to people whose bodies were worn out through coal mining, factory work and other physically demanding labor.
It felt [at the Allied set] like, "At last, I'm in Hollywood," even though I was in West London. It was like, "This is how a film should be made." It was beautiful.
I don't like cliques. I used to go out a lot in London with friends. And London can be very cliquey. I mean if you don't belong to one set you don't go to a particular party.
Anyone can have bad sets. I saw one guy who I really love - I won't mention his name - gave a set that was really bad. And then one month later did the exact same set on our show and it was great.
The retired L.A.P.D. motor cops who work set security now, all wear the same uniform, they're great guys with great stories, and they're great at their job, providing security on sets.
Even though I know I can work out at any point in my day, I set a time that I want to get this workout in by. I set times when I'm waking up and having breakfast. Finding a few things you can stick to in your daily routine is helpful when there's a lot of uncertainty and your scheduling is really off.
They were actually really nice to me [in Fast 8]. We had BBQs every day on set. We had a lot of laughs and a lot of good times.
Occasionally I get fed up, going to visit a factory, when I am being shown around by the chairman, who clearly hasn't got a clue, and I try to get hold of the factory manager, but I can't because the chairman wants to make sure he's the one in all the photographs.
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