Rob Zombie Quotes

I remember being on a black-and-white set all day and then going out into daylight and being amazed by the colour.

'America' took at least five days of actual filming.

I directed a movie and now, I'm going to do the editing.

I've been in enough movies to know that when you're on the set and you start shooting, you're looking at playback and you get a sense of what it's going to be like.

It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.

Every time I hear, Cut. Print, something cold and electrical goes off in my head, because I'm never going to change that film.

I don't watch the dailies. You want to just turn in your resignation when you watch the dailies.

I was the one who kept telling my second husband he should become a cinematographer. I paid for him to get his director's card, and he went on to make 'Godspell.'

It was very hard to make 'Funny Face' in Paris because making movies is difficult and making a movie in a city that was glorious, that was unique and surprising, to get it, to put it on film you have to make choices and reject a lot of things so you're always wondering: 'Am I doing it right?'

Of course, a movie is in constant flux.

Whether it's on top of a phone booth or a $200 million soundstage, it's about stories.

I'm amazed that movies ever get finished at all - much less come out good once in a while. It's an awful lot of work and it can go wrong a thousand different ways.

I like to direct for the big screen.

A movie set or any set is a completely private place and it feels very insulated.

We just started filming, and after every scene was shot, we had a rehearsal for the next one.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

The thing with TV and filming is the timing is all faked anyway. You do it so many times, from so many different angles. You never really do it all in one go anyway, so they just fix it all in the edit.

On a conventional film, you do one take, and if it's good, they say, 'Let's do another one for insurance.'

'Dark Knight' shot in London and Chicago, and we were on that for so long.

When you're making movies you've got to get obsessive.

The skyline in Alfred Hitchcock's 'Rope' is made up: no, you don't get the Waldorf and the Chrysler and the Empire State buildings and a dozen other magnificent structures in one window.

I definitely want to get more active in the film world. My experiences I've had thus far have been really fun, and I definitely feel my best is yet to come in that world.

I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.

You never hear of a live-action studio that has been making so-so films looking over at a studio that's making great movies and going, 'Oh, we see the difference - we're using a different camera.'