Lauren Cohan Quotes

I do like the whole idea of going to a location to shoot a movie, and there is a start date and a finish date, and a lot of special things happen within those weeks.

I started out as an assistant to a director on two movies, Miguel Arteta. The movies I worked on were 'Chuck and Buck' and 'The Good Girl.' I didn't even know I wanted to be a director until I started working with Miguel.

I think, probably, the place that I feel I most belong is a movie set.

The first time I ever went on set was during 'Fiza' when I was in Class X.

Usually on a film set it's making sure that everyone is there for their scene, and the moment their scene is over they disappear.

There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.

I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.

On 'Paranormal Activity,' it worked to my advantage not to have much of a crew, but on a bigger movie, where you have to work with a larger group of people who basically become your second family for a few months, it can be a great experience. Even though all of my projects are small scale compared to most Hollywood productions.

Being on the set of 'Super 8' was a very fun and relaxed environment.

Do you know what I'm working on now? My first feature as a director.

You talk about what a director, he was smart. He said, Turn the camera on!

A script is only as good as the director who's making it.

I love the entire process of being on the set and being able to create a character. It's so much fun. In 'Think Like a Man,' I have a very small part. They told me it wasn't a big budget, but I don't care about any of that. I'll do it for free simply because I love being on the set with other creative people.

To be a good director, you have to spend a lot of time on actual sets, but today, there's a lot of people who spend a lot of time in dark rooms writing a script, and they'll go in and tell the story to some suit at a studio who says, 'Okay, this is great, let's go.' But that doesn't necessarily mean you know what to do once you're on set.

I wrote and directed a movie called 'Two - Bit Waltz'. We just wrapped. It was a blast, blast, blast.

I had thirty weeks of prep on 'Captain America.' I have a small team of qualified, supportive, creative producers who are actually helping me achieve my vision of the film. I had a dream cast headed by Chris Evans. I had the best designers, artists, sculptors, craftspeople.

I was in Japan, and my assistant director had worked with Kurosawa. I used quite of number of Kurosawa's crew.

The only person who has artistic control is the director, and 'director' is how you spell God in Hollywood.

There is an isolated experience to being a director. It's very communal because there's a crew, but it's only you. You're the one on the hook.

Usually, you can shoot a movie in 10 or 12 weeks.

I think, at the end of the day, filmmaking is a team, but eventually there's got to be a captain.

I did all my directing when I wrote the screenplay. It was probably harder for a regular director. He probably had to read the script the night before shooting started.

A film set is a workplace for me; it's my office, and nobody really wants to be in a stressful work environment.

'Real Steel' was this lovely little piece where I held a cup of coffee and talked to Hugh Jackman for three weeks. And that sounded kind of nice.

As a film director and as film actors, you get used to a certain rhythm that's slow. But with TV, it's hurry, hurry, hurry, hurry, hurry. It's a different pace.