Urmila Matondkar Quotes

I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.

I don't have to get up in the morning and go beat up my body like I used to. I don't have to be out there in August in 108 degree weather down in Texas.

A normal day of working in Burbank is 14 hours, sometimes more. On 'The Revenant' sometimes it was eight hours, but we were shooting only five. So they were short days, but they were very strenuous because of the weather. And it was very dark.

With 'Strictly,' I am mentally and physically knackered: everything aches. I knew it would be hard, but I never thought it would be this tough.

Dancing is so brutally taxing on your body.

I remember Paul [Dano] had said at one point that when he finished this film [Swiss Army Man] was the strongest he'd ever been just from lugging me around for [several] weeks.

With this lodging and diet our extreme toil in bearing and planting palisades so strained and bruised us and our continual labor in the extremity of the heat had so weakened us, as were cause sufficient to have made us as miserable in our native country or any other place in the world

When you're working through the [fight] scenes, you're working on such adrenalin. And then, later, you're like, "Oh, god, my back hurts. Where did that come from?" Your entire arm can be bruised up, but you don't even think about it while you're working.

So basically I did this whole show carrying 100lbs, looking out of one eye, dancing – and then my tits explode at the end. It's not as easy as it looks!

I remember in my very first fitting, costume designer Patricia Norris gave me a garment with these intricate stitches - stitches over stitches, because it had been repaired so many times. Once I put it on, she told me that it belonged to an actual slave woman. My heart just stopped. Each one of the stitches had a story, you know. Just recognizing this period I was going to be dancing with was a "come to Jesus" moment.

[Adrienne Shelly] explain exactly what she was looking for. This was her movie [Waitress].She also wrote the songs that I sing in it. She wrote everything. She chose the colour of our outfits; she designed the set of the diner. She was very, very involved at every level.

When you get into the edit you'll understand what making a film is. You'll see all the things you missed and all the possibilities you have from what you shot.

THTL— too hot to live

I remember watching Soulja Boy on YouTube over and over again to prepare for it. For the first one, I was up all night in my kitchen, practicing the dance, because I knew I had to dance with Timberlake and that guy can dance.

I'm not going to be dancing with the stars at this stage in my life. But I want to dance and bop around, and I did, and I can.

If you move furniture all day, if you're a construction worker, if you have a job that's real physical, this idea that there is a sport that involves the kind of conventional, traditional view of toughness, you see that still as a positive thing.

Some directors hand over portions of their movie to their head of department to the point where it's like, "I'm not going to talk to you about the costumes, but I'm going to let you talk to the expert." Rather than, "You want to talk stitching, let's talk stitching. You want to talk grade of leather? Let's."

On film, you can't do it over again. And you do have to stop shooting at a certain point.

Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"

If you are not in the red playroom of pain and pleasure, … shooting the movie is much like doing any other movie.

I don't like any sport where you're already exhausted when you're done putting on the equipment.

I knew unless I got stopped I was going to go all the way. I don't know if I can run any faster. I just ran as fast as I could.

Screenwriting you don't necessarily have to do the job of the costume designer and the prop master and the set designer. It's more just about finding the visuals and finding these characters through dialogue.

That's what you do all the hard work for, to play in situations that put your body through gruelling times. If you're not up to it, pull out.

I think LeBron asked out of the game once or twice before that, so we knew he was getting tired but we were all getting tired out there. ... I don't think I've played in anything like this since I left the islands.