Brent Spiner Quotes

My wife Victoria Harwood was art director on 'Far North,' and she had designed my student film, 'The Sheep Thief.'

I find myself really privileged to be able to go in and look at a set that the likes of Hollywood can provide, and say, 'My God, look at the craftsmanship in this; look at the ambition in it, the scale of it.'

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.

The hiring of Phil Messina, the production designer, was a big decision. He's so gifted, and his ideas were always so smart and rooted in American history and architecture. Nothing feels like it's not us, or couldn't be us, and I think that's very important.

I worked for UFA as a set designer, you know.

People don't really have a relationship with great writing or great production or great art direction or great direction. They just sort of admire it.

The thing about working with Peter Jackson is that, at the end of the day, he is a passionate artist.

I wanted to be a set designer when I was young.

I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

There's no set like a Ryan Murphy set, mainly because it feels like he's built an entire world. He's so thoughtful and meticulous, and every detail is thought about and cared for.

All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.

Directing films is easier said than done. The job needs a lot of sensibility to put many things in place.

I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.

I love REAL set construction and think that sets are very important part of the storytelling and scope of a film.

I'm still really into set design and construction when I do films. I notice that stuff.

I went to meet Joe Johnston, the director, and he's charming. I've been very lucky. Most of the directors I've worked with are charming. But Joe's a particularly charming man, and he showed me lots of designs and, rather memorably, welcomed me to the Marvel Universe.

Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.

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.

I feel like directing is an innate talent.

There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.

Movies are the work of a collective conscious. It takes 500-800 people on a movie to complete a vision.

I look at directing as a sporting event. It's a race, a marathon. It's great when it clicks, which is why I push my crews so hard so we can excel.

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.

I'm not an art director; I'm just not. I've always been somebody who has a sensibility that I hope is the same sensibility of others.

Visual elements are, of course, the director's job.