Clea Duvall Quotes

There was definitely a learning curve in terms of being on film, but being on a set was all good.

For the first two weeks of filming, I remember bristling at some of the occurrences on the set, none of which directly involved me. Then I surrendered to the environment, to Michael's method, and became much happier, even though no one knew what to expect.

One of the best things - and something I'm grateful for every time I walk onto a film set - is my six and a half years on Dawson's Creek and the experience it afforded me in how to get comfortable with the camera.

I really thought the process and what I'm used to doing on film would be different. I thought that because I wouldn't have the same amount of time, I wouldn't do all of the tracks that I like to do or the lighting that it takes. And then, I got there and realized that I don't know any other way. I just do all that stuff really, really fast and under a lot of stress.

​​​​​​You're going to feel uncomfortable in your new world for a bit. It always does feel strange to be knocked out of your comfort zone.

Ever since I was little, I've felt very comfortable on a set. The time is stressful - being creative under time constraints. But there is an excitement and energy that you only have a certain amount of time to get what you want.

But between the images, we are privy to the real-life action being played out on the set. Peeta's attempt to continue speaking. The camera knocked down to record the white tiled floor. The scuffle of boots. The impact of the blow that's inseparable from Peeta's cry of pain. And his blood as it splatters the tiles.

Having a newborn you have to teach yourself what patience is or you'll go crazy.

The first time someone I loved left me behind...I didn't know how my family would balance. We had been such a sturdy little end table, four solid legs. I was sure we would now be off-kilter, always unstable. Until one day I looked more closely, and realized that we had simply become a stool.

I remember the first day I got there, they started the take and after four takes I was on the ground, on my back, with a banana and a Twizzler in my hand, and my face was green, and they said, "You can't get back on set for another 30 minutes." That was a, "Welcome to Atlanta," and that put everything in perspective.

Change is not made without inconvenience.

Making a film is like learning the ropes all over again.

Well, I tried being in front of the camera as a student and that was terrifying. But the press stuff about me growing up on his [film] sets has been exaggerated. I was an extra as a kid and I was also a PA [production assistant] on one of his movies, so I was lucky to get production experience. But I was nowhere near him.

I love being on movie sets. It's a very particular setting. And not all of the time, most of the time, there's always people you don't like, and you have to see them every day.

I don't know what I am on set. I can be many different things on set depending on how stressful a situation is. But at the end of the day we're making movies, we're not saving the world... we're not an army, no one's lives are at risk and we're just trying to make art, so I think as long as you keep reminding yourself that's what it's about you can have fun.

If you're not uncomfortable on a daily basis, you're not making much progress.

Being on set is quite difficult, because it's so big and you've got to try and relax, which isn't easy when you know you're in a massive film. I was terrified for quite a long time.

A feature film is an expansion of budget, stress, story, hours, time, workload, everything.

I got to work with Gena Rowlands when I did Night on Earth, and the movie was just you and someone else in a car, you're just hanging out. There's nobody else, just a walkie-talkie. It was a night shoot, and it was only a week or ten days. But it was incredible just being in her presence.

Man thrives, oddly enough, only in the presence of a challenging environment.

Today, our very survival depends on our ability to stay awake, to adjust to new ideas, to remain vigilant and to face the challenge of change.

I remember being on Atonement and it felt very right to be there. There was so much excitement every day. I remember very vividly how it felt to be a child on a film set, and that is actually really important to hold on to for as long as you continue to make films.

Film is like tech starts on the first day of filming and it never stops. There's never a moment when the audience comes in, you're just in tech forever, and I can't stand being on a film set. It's really tedious.

The hardest part of change is going through the unknown.

After losing LaRoche, I have to step up a little bit. I have to do what I need to do.