Production Scheduling Quotes

Honestly, production when you first start can be difficult to wrap your head around.

I'd love to do more 'Nighty Night,' but that's always down to commissions, really. It's weird as well because everyone's moved on. I don't know if I could get all those people back.

Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.

About the only thing that I'll probably end up doing is I made this amplifier with Peavey. It's in the manufacturing stages right now, and there are a lot of orders that we just got for it.

When I finally made it to the set, I spent a lot of time doing damage control on The Magic Christian.

I worked with HBO on 'Recount,' and we had a wonderful experience together. I'm such a fan of HBO and how much flexibility they give in character as well as schedule.

When you're working with a low budget, the most expensive time is the time spent on the set. The words of the day are, 'Get off the set as quickly as possible,' and so CG enables you to do that.

A lot of independent films try to pull off a 14-day shooting schedule, which I think is ridiculous. No matter how big or small you are, it really kills whatever sort of time you get to allow the actors to find their characters, and to spend time to think about what they're doing.

Being a cinematographer taught me a lot. I got to expedite the visions of many directors and learned how to navigate many styles and worlds.

Everything about camera movement, about how film was made, shot architecture, and time management... I was horrible at all that.

Shows don't reunite because television doesn't work that way. There's no profit model and people go off to do other work.

Most film productions, when they're based at a place, they get, like, a 30-mile radius or a 30-minute radius to get out of the town. And once you go past that, your day starts to become shorter, and you have to start paying your drivers more, and everybody just gets paid more, and you have less time to shoot, and everything costs more.

Right now a lot of people are still choosing to go to Toronto instead of shooting in New York City, something I haven't done and something I hope I'll never have to do.

There's always pressure on filming. There's the weather, people, various different technical problems. There's always pressure! And there's never really enough time for anything, really!

In general, I don't even have the luxury of rehearsal time on most films that I make. It is just a scene-by-scene full cast read through. It's very much just doing the rehearsal sometimes the day before, at the end of the day, but just on the spot as the scene unfolds.

I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.

No movie has ever got enough time. It doesn't matter how much money you've got, and it doesn't matter how much money you've not got. You never finish on time. You're always up against it and you're always working up until the end.

To make a movie charming, you have to be playful on all levels and open to ideas, and you have to have an idea for how to do that within the confines of the shooting schedule and editing and all that.

Making movies is time-consuming and it's boring. You spend most of your time waiting between takes. It's like a big machine that moves slowly.

It's part of the film-making business and also part of the creative process - putting all the pieces together to make a movie, so that they all line up. Sometimes it looks like you have a lot of projects lined up, but some of them are in different stages.

We've never had twin infants on set in all kinds of different roles.

My favorite thing in moviemaking is to shoot in chronological order if at all possible, because it just helps for continuity and all the logistical purposes. It also helps with performance and the journey of each character, but I also think it's good for the director and everyone [else] involved.

On an independent film, you really learn about pace. You have so little time to do things, that you really have to know your scenes.

On films, you have the liberty of working out the details, the psychology, taking maybe more risks and takes than you can in television just because you can't be figuring things out on the day.

We took over with 'Leverage' three warehouses, and now four with 'The Librarians,' and turned them into proper sound stages with sound doors and all the lights. We now have control of four real, proper-sized sound stages. The problem is they're dark and empty half of the year because there aren't enough productions coming into Oregon.