Top 1200 Movie Set Quotes & Sayings - Page 2

I would have been content with still playing Inmate #1. I worked on every prison movie made, from 1985 to 1991. I would go from movie to movie to movie.

It is good to get an all round experience especially when you have never been on a movie set.

I like the idea of doing a little movie every week. When you do a movie, you don't know when it's going to come out. In a year, you forget about it. I forget stories that happened on set. I forget who I worked with. I forget my lines, my characters' names. This is so fresh. We make it, and it's on TV. It feels more like a living, breathing thing.

There is no more interesting place in the world to meet characters than a movie set.

I just love being on a movie set. I like making movies.

A lot of times when people are on campaigns, it can be like a movie set.

They were fun days, and we set the town on fire with every movie we did.

I filmed my first little Super 8 movie by stealing my mum's Super 8 camera where I set some fires to some of the models, which actually caught the drapes of my bedroom on fire! The fire department came. I was grounded for three weeks and it was my very first movie.

I still feel like a little boy on the set, watching the movie magic being made.

When Gene makes a movie, the people who work on it have such a love for him that the set is always a happy place.

Can't step from one movie set to the next. Only Samuel L. Jackson can do that. All us mere mortals can't do that!

I've spent many birthdays on a movie set, all great days.

Comedies don't get nominated for Oscars. It doesn't happen. So when we set out to do a movie, it's not what we're thinking about.

It's very liberating to be naked in front of a hundred people, but there's nothing sexual about lovemaking on a movie set.

Each film is difficult, in its own particular way. There's a unique set of challenges on every movie.

In the old days, all the movie songs were recorded right there on set.

Noah Baumbach does more takes than any director I've ever worked with. He runs a very quiet set and he runs a very hard working set. He has such an intense level of dedication to what's happening that he cultivates a group of people around him who have an equal level of dedication. Nobody asks, "When is lunch?" That's just not part of our sets. It's complete immersion. He has a 'no cell phone' rule. Nobody checks their cell phone. Nobody reads on set. It's like, "If you're there, you're there. If you're not on board with that, don't work on this movie."

We didn't set out to make some polemic about life in the digital age, I can only react emotionally to story ideas. You hear an idea and you go, 'That's cool. I can see spending a few years of my life working on that.' As a filmmaker, you approach it like, 'OK. They're going to give you all this money to make this movie. It's like an electric train set you get to play with.'

To grasp and hold a vision, that is the very essence of successful leadership-not only on the movie set where I learned it, but everywhere.

In the acting world, you can really only become good by practicing and doing it, and I just think every time you walk onto a set you just become better and better. I think I'm in a totally different space than I was back then on that first movie set.

The Lord of the Rings movie set an entirely new standard for fantasy in the movies.

I've always said that I don't believe in Santa Claus, but I could make a great movie about him if I set my mind to it.

I think, probably, the place that I feel I most belong is a movie set.

I never went to work on a movie set until I was a producer and director.

There's a lot of laughing on a horror movie set. They're magical in that way.

A movie set actually can be a good place to have a family atmosphere.

Blood, especially fake, and guns, this is bullshit. It works in the movie, but on set it doesn't work for me.

I really love acting. I really do. I really just think of myself like a working woman. And I just go from set to set and work. You have to promote a movie; you have to work. People are going to have opinions and it's weirdly very easy to kind of block out the world because you have your own.

A good movie is a movie that you could see over and over again, not a movie that wins a Oscar, or a movie that makes a lot of money. It's a movie that you personally can watch over and over again. That, to me, is a measure of a good movie.

We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.

Being on a movie set is wonderful experience, but it's a bubble - it isn't real life.

A movie in production is the greatest train set a boy could ever have.

But then foreign critics right away made sweeping comparisons to haiku, noh theater, and directors like Ozu, as if the movie were somehow representative of Japan - which was, well, not what I was after. Similarly, with After Life, I deliberately set out to make a movie that was unlike what I imagined the foreign conception of Japan to be, and I figured non-Japanese wouldn't find it interesting at all.

My first ever sex scene in a movie was in 'Superbad.' Because I was 17, for legal reasons my mother had to be on the set. It was real awkward, but it worked out OK because when I watched the movie with her, the sex scene wasn't awkward because she'd been right there when it happened.

What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.

There's so many interesting aspects of making a movie: the costume department, the set design, the casting itself, the locations.

'Scary Movie' has lost its way as a franchise. It has turned into 'Disaster Film' and 'Epic Movie' and 'Date Movie' and that isn't what I wanted. I wanted to do a movie that was just grounded in a reality that went to crazy places.

You really get to direct the movie three times when it comes to the action sequences and the set pieces.

And Shanghai is amazing. I'm a fan of science fiction so when you're there in the night with all the lights and all this modernity, it's like a set in a movie.

I'm just gonna be real grateful to be on any freaking movie set for the rest of my life.

Britain produces great actors because they learn on stage so know their stuff when they get on a movie set.

Basically, we [me and Evan Goldberg] started thinking about making a movie that was kind of a weed movie and action movie and had a real kind of friendship story to it, then that would be our favorite movie [Pineapple Express] ever.

The Farrelly brothers make movies the way you imagine a movie set would be when you're a kid - fun all the time.

Being on a movie set is like one long financial crisis.

The only place where you can be a dictator and still be loved is on the movie set

You never know what to expect when you're a writer visiting a movie set.

I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.

A movie is a movie is a movie. But it has to have an adjective in front of it if it's not a white guy's movie.

Intimate scenes on a movie set are just dry, bizarre things; people standing around.

It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.

It's just fun to be on a movie set and looking to find the comedy in sweet, simple family moments.

Any movie I've ever made, the minute you walk on the set they tell you who's the person to buy it from.

It's an odd thing to go to New York to shoot a movie that is set in Indiana.

In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.

I think when I start out writing, I always try to write the version of the movie that I want to go see. I don't mean it in a way that ignores the audience, but I really set out to make a movie that I want to see and that, hopefully, other people will want to go see it. So whatever's amusing to me, I guess, I throw it all in there.

Eccentric behavior is not routinely noticed around a movie set.

This is a universal, unique movie, it has potential to cross barriers. But we never thought about that on set, when we were doing the film. We knew that in making a silent movie, we were doing something a little bit under the wire, a bit interdit. It's a pastiche, but for the French taste, you would have thought.

You could say that Iron Man was a second-tier character, and it turned out very successfully. I simply think it's down to the movie itself, and whether people enjoy the movie, are involved in the movie, and that it entertains them. From that point of view, the movie has to stand alone.

Being an actor on a movie set is like going to the playground at recess.

Lana Turner taught me how to kiss on the set of the movie 'Diane' in the early Fifties.