A Quote by Todd Phillips
You set the tone on the set that you want to see in the film.
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Beyonce has set the tone as an aunt. I've set the tone as a mom.
I definitely isolate, but I also always have people in front of me, and I have to be OK with that. I'm in a business where, on the set, you're around two hundred people every day, and if you're high on the call sheet, you sort of set the tone for the set. And you want people to feel appreciated, and you want to ask them how their kids are. You want to talk to people and invest in them and let them know that they're appreciated and heard. But then I do like to just kind of withdraw.
When you're a lead role, I'm learning that you set a tone for the movie in a way, like a director does, or like other actors do. But it seems like you set a mood on set.
If you don't set the tone for the day, the devil will set it for you.
My experience of children on a film set, especially on a big film set like the 'Potter' one, is not wholly positive.
Interestingly, I'm more closed on set than I am off set. On set, I'm closed. I don't want input. I want to concentrate on what I'm doing with this other person. But outside of that, I'm open. I'm everybody's friend, unless they don't like me.
If you set a tone that you don't want people to be part of your team, they don't join.
'You Should Be Here' set the tone that, 'Alright everybody, I want you to listen to this album.
I just wanted to do it all. Film and television was so strange to me because I didn't grow up in the business, I didn't know anything about it, and I had never been on set before. But, from the minute I got on set and did 'Old School,' I was like, 'I want to do this!'
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
I want to make a period film, I want to make a film set in another country. I want to make a foreign film. I want to make everything eventually. I am a storyteller. I have many stories to tell.
You have more of an opportunity than people think to impact a game through the tone that you can set. You can't control everything, setting that tone is important.
I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.
I do feel like there's a spirit and a tone you can set that lets people know that they're appreciated for being there. It's a sense of spirit that I think every film should have.
In the case of 'Game Of Thrones,' I've been to set a couple of times, and it's really exciting and inspiring for me to see the set and the actors in action, meet them and talk to them, so it definitely helps. If I can go to set, I will.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
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