I think people like to exaggerate about the number of takes you do.
I like to nap. I do like to sleep. Sometimes I sleep in between takes.
At the Emmys, you've got a bunch of people who are used to being on TV on TV. You don't have that at the Oscars. At the Oscars, you have people who are used to having 40 takes.
I'm a one-take kind of guy, except I don't do it in one take.
I've done 20 takes of a Vine before it goes out.
We live in the only country in the world where it takes more brains to figure out your income tax that it does to earn the income.
If you are only getting two takes and you are on a crazy set where there is a lot of noise and distractions and it is hard to focus - that is frustrating. But I don't mind two takes if there is a healthy respect with the work going on with the actors.
I think I always try to be accommodating and open and available and proving for my director. I love to give as many takes as they want. I love to give them as many choices as they want.
The biggest surprise about making a movie has got to be the wait in between takes.
When I worked with Robin Williams, now there is improv! He is just as funny as you think he is. We did at least five or six takes of every scene, improvising every scene differently. He was a riot.
He only earns his freedom and his life Who takes them every day by storm.
I did a guest shot on a comedy series where they did 20 to 30 takes of everything. It's just gone by then. The joke is over. It's not funny anymore, and then of course, the editor's the one that has to figure out the timing. I think a lot depends on that.
I like a lot of takes. I just go on until the actors get it right.
I'm an impatient person, so it's hard for me to sit around and do take after take after take.
I think you get less takes on TV than in movies.
When I look at that now, all I think about is what a master [David Fincher] I was working with, and all of the things I could have watched and learned - and I didn't. And how, now, in my career, how I would love to have a ton of takes.
Filming is repetition and many takes.
I love working fast. I don't relish the director who wants to do 25 to 30 takes, or the actors who insist on doing 25 or 30 takes.
Another way of verbally masking elite preemption of other people’s decisions is to use the word “ask”—as in “We are just asking everyone to pay their fair share.” But of course governments do not ask, they tell. The Internal Revenue Service does not “ask” for contributions. It takes.
When you work with Sir Anthony there are days when he will do a lot of takes if he's really enjoying a scene.
I always ask for more takes. I like doing takes, so I'll do as many as I can.
I can be unbearable sometimes asking for so many takes.
I think if I were asked to do as many as fifty takes, I would assume the director had no idea what he wanted, and was just hoping, eventually, to see it.
With 'Trainwreck,' because it wasn't live and we could do more takes, I feel like we broke a lot.
We've got a great team of editors, that's true. And we work hard so that when we do the couple of takes that they're good takes hopefully. Not always, that's for sure; there are lots of bad ones, but we try to work hard. Clint Eastwood doesn't more than one or two takes in his films. And he makes some good films.
