Gabriel Macht Quotes

I always felt that if I was going to do a movie, I wanted it to be authentic.

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

If movies are set in New York, they really should be shot in New York.

I shoot reality-based movies, and in actual locations, shooting them with a star is next to impossible.

I really fight hard to make things film where they're supposed to be filmed. If something is supposed to be in New York, then it has to be in New York.

It's a different thing shooting for 10 weeks in India as opposed to on a set on stage pretending you're in India.

I like shooting locations just because too much control on the stage can be a bad thing.

One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it.

If you set your story in Rome, Ireland or Sheboygan, for that matter, go there. If you're broke, set it in the town where you live, or where you grew up.

I got to do Disney Sunday movies. I got to do a TV pilot there. And it really helped me to realise that I needed to not just be a writer, but a producer, to see my work up on the screen the way I wanted it to look and play.

Last summer a second unit production crew went to France and shot scenes for several of this season's episodes. They shot costumed actors in and around real castles and landmarks, we couldn't possibly have duplicated here in Hollywood.

I can honestly say I've never chosen a film because where it's shot is convenient.

If I get a note on my script or my films, what I say to a studio executive is that, 'You know, this is the film of my legacy, and I never want to be sitting in a theater looking up on the screen and seeing something that I don't believe in.' I will never do that.

You know what I'm realizing? I always love a place if I like the movie I'm doing there. I've heard people say, 'I hate Pittsburgh,' and I'm like, 'I love Pittsburgh so much!' I loved what I was doing there, and I loved Austin for the same reason.

On 'Southland,' when a helicopter joins our scene, we don't skip a beat. The actors talk louder because that's what cops do in real life.

Right now a lot of people are still choosing to go to Toronto instead of shooting in New York City, something I haven't done and something I hope I'll never have to do.

It's an odd thing to go to New York to shoot a movie that is set in Indiana.

It all depended on the cut. Some of them were really on the ship. Some were really on the set. Like if they had the stars for a week, the stars coming off, that was usually on the set, except if we were on location for that particular show.

Oh, absolutely, it felt more serious than your typical job. One of the things that got us through how difficult the shooting actually was was that we are telling a real story.

As the years go by and I make more films, I am increasingly interested in capturing place as a vivid backdrop for my films.

Shooting against greenscreen... my choice of filming is, like, I'd rather shoot on location than shoot on a set, and I'd rather shoot on a set than shoot against greenscreen. You start stripping away the layers of reality, and it becomes a lot less fun to actually film.

I think when you're on a show that takes place in N.Y.C. but film it in L.A. there is just a vibe that feels wrong.

It's one thing to plan and imagine what you want on a film, but when you actually arrive and survey the scene, there's a moment of, 'Oh my God, what was I thinking?'

I have always wanted to do a show where I could stay home. When you make movies, you might as well take a dart and throw it at a map.

I would remake 'Club Paradise.' I thought the story was cool, the setting was great. Everything lined up, except I wrote it for Bill Murray and John Cleese.