Set Dressing Quotes

You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.

What I loved about the 1950s is that there is an aesthetic to even the average film. The way the camera is placed, the way characters move, the way you dressed the sets, the respect for craft and actors, I do miss that in today's films.

Far too often, I read a script where the girls are the girlfriend or the set dressing.

In India, it's tough to shoot a period film outdoors. You cannot find mud roads without wires, signage and billboards with ads of mobile phones even in rural areas.

I was used to getting changed in pub toilets before going on set. Then suddenly I had studios in L.A. advising me on my hair.

And finding the hat, I always like to find the hat. And then props just dress the set. It's all fabulous.

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.

Once we actually have the production script after many rewrites, at that point is when I start to decide what the look and colors will be. I work like a painter, even though I'm working in three dimensions. I'm working with chairs. I'm working with walls. But even things like the floor or the walls that people might think are not important, they actually do influence the visual look of the film. These are also things that I have to think about.

You can ask any set decorator on any set where I've had to be in an office, I always kind of claim it - I put Post-its everywhere, and I kind of make it look lived-in.

I love theatrical props: a cup filled with solid fake tea, say, or a collection of fake food, including a rubber turkey, which, during the holidays, I wrap in tinfoil so it appears to have just come out of the oven.