Tim Bevan Quotes

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

The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script.

Scheduling is always tough, no matter what the budget size is, and we had our own run-ins with that on 'Fading of the Cries.'

When it's low-budget, and you have one other person on the set, you have to make rules.

It remains to be seen the extent to which the critical needs of seniors in low income high rises, people with home medical needs and those with disabilities have been adequately planned for and met during widespread power outages. I fear the answers.

I've directed seven movies and know a thing or two about dealing with unexpected crises.

With an independent movie, it's like, 'Okay I know what I want, and I got to go for it.' I just got to get the A version of this. Occasionally we'll try a B version, but not often. We'll just get what's scripted and try to do that as best we can, so you sort of edit while you shoot an independent movie.

We had four different sets and built 38 flats to use as walls, so we had a major production going on. It's so much fun when you're controlling it, but it's also so much pressure.

When when my first feature opportunity came along, I wasn't prepared, but we did it in about 17 days.

The way you continue to be a successful business is you don't wait for the car to go off the cliff. You have to manage yourself. And make sure you do it in the right way so you are not making decisions in crisis.

Some people would ask: 'You are not the one who does the painting, or shot the work, how can it be your work?' But I was the one who chose which site we should use, and which assistant helps me to do the painting, or the shot.

I spent all my time on my movies worried that people were eating and that the schedule was being kept, so to have experts in those areas giving me the brain space as a writer and director is huge.

And it seems to me correct then, and I think it's correct now, that job one is get the planning done, make sure the buses are there. When that's done, it's completely appropriate to go around and tour around and look at the damage.

I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

In other words, DC was never harmed by the paper shortages.

I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.

Just trying to get a film made which is always difficult no matter what kind of a budget you have. Not having a budget makes it even more difficult. Having nineteen days and no budget makes it extremely difficult.

I think people forget that a lot of directing is just real management of the size of a production.

Family preparedness has been a long-established welfare principle.

It's my responsibility to make the movie work with the schedule and money we have. It's my job to get the best movie we can do in the time we have.

I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming, but it reduces the chances of 'misunderstandings' on set.

Directing is a more pragmatic experience, where you have to deal with the restrictions of time and money that force you to make certain decisions you don't have to make when you're writing.

Even when you have a big budget, you can't just shoot everything.

In a movie you have all these logistical problems; all these practical problems. But you're also going to have people come who can do things that you can't do, and you get to direct their talents.