Brendan Gleeson Quotes

The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine.

As a writer, being on the set of 'Gravity' was such a surreal experience. It was nice to see them using the technology to translate what we had on the page.

People often tell me how much they love the digital skies that we obviously painted for 'War Horse.' Well, there's not a single sky that we put in through special effects. The skies you see in the movie are the skies that we experienced - but it was definitely challenging at times.

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.

I don't get it when you get so much openness about the way movies are made, and the special effects and the behind-the-scenes stuff and all of that. I can't help but feel like this reduces it a little bit.

I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.

I remember kind of doing early acting and thinking, 'God, they don't paint behind the sets.' It's a bit of a shame, really - 'Oh, what's on the other side of this wall? Oh, you can see the plywood.' I was really disappointed. I just thought that these things were real, from watching things as a kid.

There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.

I loved being in Close Encounters, just to watch Steven Spielberg working was exciting.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

The irony is that you can't use real rain to make movies.

After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.

Directing a film was something I was yearning to do. I always wanted to see if I had the capacity to be a good storyteller.

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

Making movies is about creating illusions, and they can be subtle illusions, but it's all a cumulative effect as you make these little tweaks. It kinda adds up to something, hopefully.

When you're making a bigger movie, you have much bigger set pieces that require more time and more effort and more people.

I always wanted them to look like Hollywood movies; I just didn't know how to do it.

The attention to detail on 'Titanic' was extraordinary.

I fell in love with the whole process of making a movie. I loved the sets. I loved watching the actors and the crew.

Scale is not just something that a director wants so as to play with all the toys. Scale also lends verisimilitude, to put together a real world.

There's so many interesting aspects of making a movie: the costume department, the set design, the casting itself, the locations.

When I saw 'Jurassic Park' as a kid, that was the first time I thought about making movies for a living.

Even though I love Hindi films, I don't remember any backdrop visuals that are really striking.

Ordinary Women was shot on a soundstage with a professional crew and a professional animation studio creating everything.

I got Greg Aronowitz, who does [ Felicia Day] sets, to do mine as well, and he's just amazing. He can work miracles with nothing.