Set Construction Quotes

I built stages and I did stage management - I think I built the sets twice, I happened to be good with a drill, which is a talent I didn't know I had.

The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine.

Building a set is like building a place, but it's a temporary place, because sets usually get torn down. Kind of unfortunate.

If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.

I've been on lots of movies where we've done a lot of planning of sets - how much you build, and is this big enough, and will this get us what we need? - just with foam-core models.

I mean I think people prepared me for like a lot of green screen [in Oz the Great]. I didn't have a lot of green screen. They build most sets. When this castle was tangible, Emerald City was tangible, the forest, the woods was tangible, the cemetery, everything was there.

When you're actor, you have no idea how much work goes into pre-production. We're just sitting in our trailers waiting for someone to knock on our door to go to the set.

I worked for UFA as a set designer, you know.

Theatre is about people, not buildings. Incalculable damage has been done to the expert talent a company needs - from wardrobe to lighting technicians.

After college, I was an intern at the New York Theater Workshop. In the mornings, I would build sets and hang lights, and in the afternoon, I would be the reader for auditions.

And it's about a three-month process every screening. And that way we have seven or eight chances at the film before we have to actually build the models, build the sets, do the animation and all of that. So it's a - I think that's a real key to the way we make films.

I am quite handy; not to sound bragadocious, but I've been working with wood and building things my entire life. I used to be a skateboarder and built ramps with my father. Then, the first two years I lived in Los Angeles, I worked as a carpenter building sets.

Directing a film is a lot of physical work.

I got Greg Aronowitz, who does [ Felicia Day] sets, to do mine as well, and he's just amazing. He can work miracles with nothing.

I wanted to be a set designer when I was young.

I'm still really into set design and construction when I do films. I notice that stuff.

I've learned a lot about stage-managing for illustration. Sometimes you have to delete characters from a scene just to keep from overcrowding the image. I've also learned to making big-scale design decisions early.

When I was a carpenter, I built sets for small storefront Chicago companies. Like, I built sets for friends of mine at The House Theater.

Shooting on location and dressing locations in Los Angeles is shockingly expensive, especially when you're talking about webseries-level budgets, so the opportunity to build our sets in YouTube's space gives us a lot more room in our budget in being able to create the world of 'VGHS' properly.

Funnily enough, when I originally went in for my screen test, that set was already built.

When I'm working with Red One, we all have to do everything, from making sets and costumes to tearing tickets. Forget about craft services! So when I get on a film set, it's a thrill to be just working as an actor.

The first prize for any production is, if you can find a location that means you don't have to build sets, that will serve, and is not excessively expensive to hire, then it can save you a lot of money.

For many years, I was on working on films which were so small of a budget that I could not even build a set. So, when I was finally able to work on set, it was a rewarding moment. I felt the same feeling when the camera changed from 16 mm to 35 mm.

I think what happened there was just the budget would be too big to build these sets because nothing really exists here in New York of that period; you have to build it all.

I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.