Ben Wheatley Quotes

It made it feel impossible, quite honestly, because filming - you film come rain, come shine, come whatever. And it did rain a lot. And of course, that's what she must have gone through. Of course it rained; of course it was cold... But, you know, it really was quite hard to be out there in the rain.

It was great to work in Ireland because it's such a beautiful country, but it's not particularly easy to film in because the weather changes all the time.

It's hard when you see a scene where it's raining, and we have the rain machine, and you see it for 5 minutes, but that scene takes all day to shoot, and you do it with rain, and the dry off, and go back and do it again.

Unless it's a song and something fancy, I would rather shoot on location.

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

I got so good at writing to a budget, my brain was restricting myself. I'd write, "It's a stormy night." Then I'd cross out stormy. I'd write: "It's a calm night." Then I'd cross out night. It's noon. Because you know how much night costs. You know how much rain costs. Nothing comes free in movies.

I don't think a Hollywood actor is safe from acting in the rain: it all depends on the film.

The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.

You only have so much money to shoot a movie with.

Rain is also very difficult to film, particularly in Ireland because it's quite fine, so fine that the Irish don't even acknowledge that it exists.

There's a rule in Hollywood: stay away from water and stay away from snow, and I had both.

Shooting in Los Angeles is always pleasant and comfortable. Shooting in New York is like being on 'Survivor.'

For 'Vikings,' we have to do so much outside shooting, and it's normally - I think with American shows, it'll be 60 or 70 percent inside and a little bit outside, but with us, it's almost 70 percent outside, and that's huge and really difficult.

London is completely unpredictable when it comes to weather. You'll start a scene, and it's a beautiful morning. You get there at 6 in the morning, set up, you start the scene, start shooting. Three hours later, it is pitch black and rainy.

Seattle was a rabid film town in the '70s and '80s because it rained so much.

It's possible for an editor to break down a dream, if you like, into its components and being able to shoot the wide shots in sunshine, when the weather was at its best and you know, we would get sort of almost a 3D effect sometimes if you chose the right time of day to shoot the thing.

I remember in Shallow Grave I remember a few times when we'd only have to do one take. But when you did have to do more than one, you'd build on the one you'd done.

Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.

In film, I think that you do have a little more time to invest in the character compared to television, where you are shooting from the hip and making quick choices. It is the speed of things that is the major difference - certainly in my experience.

I've always worked very efficiently on small budgets, both in documentaries and in features.

A lot of my background is in theatre, so when you're on location, and the wind is really blowing, it's raining, and you've got mud all over you, it really keeps you on your toes.

Shooting all day in the rain is not where you want to be.

You can do 12 great takes, but if the director is no good, he'll end up picking the wrong one.

Puerto Rico is beautiful. I mean, I love it. But it's hard to film here. It's hard to film an action movie here where you're outside, and you're running around all day.

On 'Far North,' we were always aware of being at the whim of mother nature. She's the biggest star in the film.