Steven Spielberg Quotes

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

Like, I've worked on movies where you go in every day and you know that what you're shooting isn't very good to start with and then you have to figure it out, and that's way harder.

You hear about actors being late and all that sort of stuff, but you never find that with an actor who's directed, because an actor who's directed understands all the problems your production is going through.

I grew up on movie sets, I'm comfortable on sets. A movie set is like a circus. I don't understand why moviemaking has to be such an insane environment.

When you're shooting a movie that's not necessarily a huge budget, you have to think about what you can leave out and still make it interesting.

There's nothing like walking onto a Hollywood sound stage.

I think one day I want to be on the other side of the camera-maybe directing.

You can't make a movie about making movies - it's boring.

I love being on a movie set.

When I was shooting 'Okja,' that was my first time actually seeing a trailer for actors.

It's not like I'm the lead actor or anything. But it's really cool to be in a Steven Soderbergh movie.

The movie industry is full of crazy people who think that they are god.

We use all the takes that no one would ever use and often the moments before we say action, or before we say cut. No one's ever called and complained or anything like that. Everyone's just so grateful to get the work and to be on TV and all that.

My first day on set [Bad Santa 2] was with Billy [Bob Tornton] and it was a sex scene in a Christmas tree lot and you know in order to make it great for the audience you just have to go for it! It was our sort of our icebreaker. There is something very freeing and fun about just playing make believe and it's just over the top and hilarious so you just go for it.

When you're doing a big-budget movie and you're four on the call sheet, you've got a lot of free time.

You need to know that going in, and you also need to be able to write all the time. So when somebody looks at you across the table and says, "What do you think about a movie where Miley Cyrus switches souls with a basset hound?" You need to be able to sit there and figure out how to make that possibly shootable.

I want to see more women behind the scenes.

Normally, you have all this knowledge from all the films that you've done that you've accumulated over the years, and you can constantly look back when you're in some sort of fix and say, "Well, on so-and-so film, we did this, and it worked out fine." You can point to these things, and you can have that assurance.

What to do? We yanked the dress up over her lovely attributes and with the addition of a scarf, the problem was solved. Sorry, guys, blame that stuffy censor. He hated surprises.

There's always something ridiculous happening on the set, especially when people get tired because of the long days.

I just want to make good movies. Honestly, the only difference for me with this stuff is that there is more people on the set.

It's always a challenge to make an independent film. It's always a challenge to make a low budget film.

I was living in New York, so I just rode my motorcycle up to the set [of New Jack City]. So first day of work for me was kind of tough. I get ready to get off my bike, and I'm surrounded by the security guards, who were Louis Farrakhan's Nation Of Islam guys. Who had the double-breasted suits and guns. And this guy goes, "Where you goin'?" And I said, "I'm here to work." And they said, "No you're not." And I said, "Yeah. I'm here to work on the movie." And they said, "No you're not. Get on your bike."

The only time I go on the set is when I have a cameo to do in the picture. I go to the set and I do my little cameo and I meet all the people. It's a great way to spend the day. And then I go back to my own world.

I actually had some funny dialogue [ in Stardust Memories], a little piece, and we shot all day in this big ballroom. Gordon Willis was the director of photography, and at the end of the day, Gordon turned to Woody Allen and said, "We cannot accomplish all of this in this space. It's impossible." And we'd been rehearsing and trying to shoot this thing all day. So Woody said, "Okay, let's do something else." He looked at me and said, "Come back tomorrow, I'll put you in something else." And he did.