Shiri Appleby Quotes

My first job was an AFI short film, 'Chasing Daylight,' when I was 11, and I made a couple of commercials that never aired.

I got my dailies every day, although I couldn't always look at them because I was usually preparing for the next day's shoot, both as an actress and as the director.

For me, I've always taken being on a set as my school, because I've been working since I was ten.

When I was younger and in primary school, I'd do maybe a film a year, and I had to adapt to being away from everyone for a couple of months.

It's always strange being a kid on the set, because you're treated like an equal when you're working. But then when you break, the other actors go back to their trailers to take naps and drink beer, and I have to, like, go do school.

Oh, my father's had a huge, immense impact on my career. I grew up on movie sets that he was working on, and it just become a part or was a part, was the only part of my life because I spent my whole childhood traveling and being on film sets.

I vicariously lived the life of an independent producer from the time I was 4 years old.

I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.

My first paying job was guest starring in 'Touched By An Angel' when I was 12. It was very exciting. I couldn't believe you got free food all day and people were so nice to you.

I was there for the making of Young Winston, but guns kept going off. I went 'Waaaaah,' and someone said, 'Please get the child off the set.'

I did my first film with Francis Ford Copploa, which spoiled the hell out of me.

When I worked as an assistant director in 2007, Indraganti Mohan Krishna offered me a lead role. Now, the same director has made me a villain in 'Gentleman.'

When I was nine years old, I was in a movie called, 'Landlord' with Pearl Bailey, Lou Gossett, and Beau Bridges.

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 was spending a lot of time in trailers, you know, on film sets surrounded by film people.

Crewing and being on film sets is kind of like being in the carnival, with carnie folks.

If you spend any time on the shooting of a drama, for television or movies, it's very slow and there's a lot of standing around.

I grew up on a set. The guys I hung around with were crew guys: the camera department, the prop guys. I was like the third kid through the door when I was a kid actor on Leave It To Beaver. I was always one of five guys who would have a couple lines. I was a journeymen actor in my first career, so I was appreciative of the journeymen on the set.

When you grow up in the [film] industry, the director is your father. You follow your father's lead, but you make your own way.

Ridiculously - fortunately - my first job was with Dustin Hoffman. I had a little part in this movie called Tootsie. And he taught me how to watch dailies. That it was very important.

My job is going to be to direct the film - I'm going to do it. And that's where my job ends.

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.

Christie Brinkley told me that I needed to become a movie star because I have that something, and then we actually just became friends on set. She has such a young spirit, and is so vivacious. It was such a fun, fun shoot.

When you're a director, you have great respect for directors. I am really pretty loyal to any director that I am working for and I want to help them realize whatever story and mood and tone that they're trying to realize. As an actor, you really just are a cog - you are an important cog, but you are just a piece of the machine.

I worked in Toronto for two days. And by work I mean sit in a trailer for 15 hours, say two lines, and leave.