Michael Cudlitz Quotes

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

I think what happened there was just the budget would be too big to build these sets because nothing really exists here in New York of that period; you have to build it all.

I've been on sets my whole life.

I love being on set, because I've basically grown up on a set. And now I love to contribute as a director and help steer the ship, if you will.

Directing is more what I would like to get into eventually. Frankly, I feel like it would be a waste if I didn't because I've spent so much time on film sets, and I know how they work, and I love them, and I love leading them. I would like to do that as a director definitely.

You never get fans hanging out on movie sets. It just never happens.

I don't think there's a back lot here in Hollywood anymore that has those streets, like a French Quarter.

I like working in both movies and television. Television is faster, not very much rehearsal and a lot of material is shot in a day. Big budget movies are luxurious in terms of the schedule. Independent films often shoot fast as well.

At least in films you will go, you shoot for four to five months and then you can take a break. But I know how TV works… the directors are mindblowing, they work non-stop.

I've been on lots of movies where we've done a lot of planning of sets - how much you build, and is this big enough, and will this get us what we need? - just with foam-core models.

What you do in film and television is really different than what you do in video games.

I don't miss working on camera as much as theatre. But I do love film and television because it's so immediate; you walk on to a set and the tables are dusty, and everything's as it should be.

I realized I loved working in television as well as film. Besides, if I hadn't been forced to look for work in TV, I'd never have gotten to work on 'Game of Thrones.'

I think everything within film and TV helps inform every other role, so it's definitely helped my acting, being on the other side of the camera, and it's just given me a whole new appreciation for how hard everybody in the crew works.

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 love being a part of the whole journey of a film being made.

There's always a concern over budget with film too but people are more extravagant when they're making a feature. In television everything's tight, everything's paired down and it's just a question of making it look expensive.

I feel like I might be a designer or stylist - or a director because I have always been super interested in cameras and editing.

I worked for Oprah Winfrey for two years right out of college in 2004. I was a director's assistant on the film 'Their Eyes Were Watching God,' which Oprah produced.

Movies are made in the scriptwriting process and prepping and preparations for the shooting process.

Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.

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.

TV directors just aren't sexy for some reason, Although, you know, Rob and Kim [Manners] are very sexy in my eyes.

Whenever you're doing film for television and you look at the budget that you have, which is much more constricted than a movie budget, you think, "God, are they going to be able to do what they say they are?"