Deborah Ann Woll Quotes

If the character should be nude in the scene and it makes sense and I trust the person making the film then I don't see a problem with it. I certainly don't want to be involved in anything that is gratuitous, but I don't think the human body is something to be ashamed of. Every other person on the planet has the same parts as I do.

You cannot believe how hard it is to try and raise money for a film. I did it for six years and it was such a failure.

The film project has been “twenty years of constipation,” and he likens the Hollywood process to “trying to grill a steak by having a succession of people coming into the room and breathing on it.”

I love making movies, I love trying to make them as good as I can, but I feel like sometimes the marketing and publicity around the movie, becomes the most important part of it.

A lot of nudity in my early movies was out of necessity. When I came out to Hollywood, I didn't know anybody, I didn't have any connections. I did what a lot of people have to do in the real world, and just work up from the bottom.

As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.

You always feel quite vulnerable when you're naked on a set. You feel quite silly, actually. And with the green screen around you, it's not that sexy. But, it looks stunning. It's art. It's not vulgar. It's not indecent. It's not realistic. It's beautiful, I think.

In moviemaking, you learn to pay attention to detail, because so much is in the detail. And when you're shooting, you try to be very alert to what's going on, even if you're tired.

Getting any movie made is just like trying to push a giant boulder up a mountain, and there's so many moving parts. Obviously, there's the creative side, and then there's the logistical side, and they're both colossal.

I'm lucky that I get to jump around, do a big-budget comedy and then a smaller film. I don't even make a big distinction between them. No one believes this, but it's the same. I'm the same person, trying to make it work. I just love being on a movie set. I like making movies.

I'm still trying to learn how to do it, I'm still trying to figure out how to make films, but, yeah, it started then [in 1979].

When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.

It seemed like there were so many options in filmmaking before. If they don't want to make it, well okay, there's a hundred other places we can try. I'm not a producer and I don't even know the places my producer goes to, thankfully. But I think there are far fewer options now to releasing a movie theatrically or to getting the financing.

I do love making films. I want to be a filmmaker that grows and progresses and does keep trying to push myself. I think that's it... and a bit of confidence maybe.

With film, oftentimes you work in a vacuum and then you get on a high wire and then you try it and then the day's over and that piece of film exists somewhere in a vault for 1000,000 years and that's it.

I've always been passionately in love with movies, to such a degree that even as a young person of about nineteen or twenty I thought maybe I would try to become a film director. The reason I didn't do it was because I felt I didn't have the right personality. At that time in my life, I was mortally shy.

I was just interested in directing. So I just kept having a go at trying to write little scripts and get things together, and my wife just had a slip of the tongue and said, "Franz Kafka's It's A Wonderful Life" when she meant to say "Frank Capra's." There it is right there. That's a gag that we could make into something.

I have "fat-guy syndrome." If they give me $50 million to make a movie, I'll try to make it look like it cost a hundred. If they give me $60 million, I'll try to make it look like it cost $120.

No matter what you're doing, if you're trying to make a movie, you need to be working with people that are really good and who make you better.

Even a low-budget film costs way more money than a high-priced record. So, it's mo' money, mo' problems. When you have more money, it just creates more people trying to get involved and you have more trouble.

I've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, "What can we shoot that looks fantastic?," rather than trying to do the kinds of thing that you would be able to accomplish in a movie.

Of course WE never had to do nude scenes. I'm glad, too, because I'm susceptible to pneumonia.

I think I'll try to keep working in film for a little bit. There's something still kind of magical about it, that I don't want to let go of.

I don't hesitate to do nudity as an actor if it's done well.

It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.