James D'arcy Quotes

Intimate scenes on a movie set are just dry, bizarre things; people standing around.

Being an actor on a movie set is like going to the playground at recess.

Actors become very professional and proficient about watching out for each other's light and not stepping on each other's lines.

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

'America' took at least five days of actual filming.

Filmmaking requires the participation and cooperation of many people. It's unrealistic to expect that you're not going to be challenged by unforeseeable forces from every direction.

We've learned a lot about how information needs to flow effectively amongst a group of people. They need to be fed information, and it needs to be on this constant conveyor belt.

I think trust is the most important thing. If the actors and the director and the crew trust each other and you set up perimeters and boundaries, you give everyone space to do great work.

I rely upon the directors to fill me in before a shot.

The producer, in effect, has to work as a translator. You form a very tight relationship with the director and writer from the beginning, and then you are constantly communicating to the various people that begin to come into the process, as you are trying to manage to hold on to a vision that needs to be communicated over a long period of time.

That's what I learned most about directing on my own - you've got to build a family, a filmmaking family.

I like working with people. I like talking to people.

I sometimes have dreams that my assistant director is waking me up and trying to get me to the set.

I think the biggest thing you take from the stunt world is your understanding of the filmmaking process. For years, you've worked with every other department closely. You know hair, makeup, wardrobe, special effects, and you know what everybody's needs are and their expectations. You also know how to collaborate with them.

I need to be on the same page as the director.

It's great to have a good relationship with the directors and learn about things you do with cameras, and how you direct.

There's a constant dialogue going back and forth between the filmmakers and the producers.

Every film is a human encounter. It's people trying to collaborate and create something together.

The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster.

Everybody that's on a set - from the director to the grips to the electricians - it's all about problem solving. So, as empowered as you can make everybody feel, that's really important.

I wanted the opportunity to work with Judy Davis and Simon Wincer.

I would say the most important aspect of direction is that you, as a director, and your producer need to be on the same page, the same line of thinking. If that doesn't happen in the beginning of the film, then that will show in the final product 100 percent.

Communication isn't just directing a guy on what to do: it's passing the information along to the guy that's next to you, and that's where we make the calls come to life.

And being an actor already means that working with cast as a director, I have a clear understanding of their position and that collaboration is great and useful.

In a big movie, like Ridley Scott's 'Kingdom of Heaven,' where I had a small part, you realize your task is to support everything that has to come together. You're just a piece of the puzzle. You're the guy in the hat.