Steven Yeun Quotes

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 like hanging around the set and learning how people do things, how the set runs.

When you're on a set it can be very tedious and slow. It's just not as big as when you see it on film.

Seeing someone happy on set is just a very small slice of the reality of an actor's life.

Being on set is really hard because there's craft service.

My parents are in the business - they're actors - so I kind of grew up on a film set, which was a funny place to grow up.

Horror movies feel like comedies when you're making them because everybody laughs so much.

I'm so excited to be part of the environment that David Ellison, Dana Goldberg, and Marcy Ross have built at Skydance.

I had a good experience while shooting for 'Mahanayak.'

I very much love Los Angeles, and I love working here. I find it very inspiring and very creative, and some of the best crews are in Los Angeles.

'Pilla Zamindar' is a fun film. I enjoyed working in it.

I've worked on a set before, know something about cameras, and done some editing.

I have worked in both comedy films and romance.

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.

I started working as a movie writer and a movie producer... all the way back to 'Teen Wolf' and 'Commando.' All of those experiences, plus working both at DC and at Marvel - each of those things are bricks in the wall.

I was brought up playing games and still do ferociously. I once played Connect Four on set with Bill Nighy and Richard E. Grant for so long that the assistant director got cross.

But between the images, we are privy to the real-life action being played out on the set. Peeta's attempt to continue speaking. The camera knocked down to record the white tiled floor. The scuffle of boots. The impact of the blow that's inseparable from Peeta's cry of pain. And his blood as it splatters the tiles.

Yeah when you're in the middle of filming this movie [Bad Santa 2] it doesn't matter what you say you can think of some sort of way to twist it into something dirty so we were laughing a lot.

Television is a great job for a writer in the way that movies used to be, way before my time. Back when writers in Hollywood were on staff or under contract at any given studio and you'd write movie scripts and then the movies would get made within a few weeks, such that you could be a working writer in the movie business back in the '30s and '40s and '50s and have a hand in writing five or six movies a year that actually got produced. The only thing remotely like that in the 21st century here in Hollywood is working in the TV business.

I was really nervous, because I was certain it was going to be bigger than anything I'd ever done before. But I was relieved when I actually discovered that there was a family atmosphere on the set, with a brother-sister team, Barbara Broccoli and Michael Wilson running it all.

There's no great technical expertise in being a movie producer.

I remember being on Atonement and it felt very right to be there. There was so much excitement every day. I remember very vividly how it felt to be a child on a film set, and that is actually really important to hold on to for as long as you continue to make films.

Everybody puts importance in money on a film set.

I like the prop food so much that I eat it between takes as well as on camera.