Will Poulter Quotes

That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.

I've worked on movies where there's all these people coming and going, and I don't even know who they are.

I think everything you do, whether it's low budget things when you're first starting out or full feature films or when you're working with Hollywood, you're always learning, all the time.

In India, film sets are like a family atmosphere.

When you do movies, it's you have a 3-month family and then everybody goes away and then joins another family, you know?

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

When I did 'Ferris Bueller's Day Off', I had the idea on Monday and the following Tuesday it was in budget at Paramount. I couldn't walk.

I went to Cal Arts and AFI, and I worked on 'Bonfire Of The Vanities.' I got this grant from the Academy to be Brian De Palma's apprentice director. And it was such a harrowing, disillusioning, awful experience.

And I just want to work with good directors and good people.

So I've had really great assistant directors for my last seven movies.

Obviously, I've been on sets before but nothing as big as 'Twilight.' You forget sometimes that you're on set of one of the biggest movies ever- so when you just sit back and think about it its just so incredible. It's such a great learning experience.

The first thing I ask when I'm offered a part is, Who's the director? which is something they never understand in Los Angeles.

I was very fortunate in the '70s to work with the best actors, the best directors, the best cinematographers.

During the late '50s, I had worked on the script of Ben-Hur in an office next to that of the producer Sam Zimbalist.

I think it's easier to make a film with 200 million dollars than 960 grand.

I was in New York. Hitchcock was in California. He rang me to make a report on his progress and said, I'm having trouble. I've just sacked my second screenwriter.

When I think about my great conversations with Marlon Brando on the set of 'Morituri,' I think there's a story there, just as I do with my experience working with James Cameron on 'Titanic.' And then there are all my years on 'Y&R' and all that has happened there.

I've worked with a lot of great directors.

I have worked with some very great directors.

The film business has so many twists and turns that it's a miracle any film gets made.

Nowadays, to get a movie greenlit, you have to make an incredible effort.

Once you get an offer from Steven Soderbergh, you just do anything you can to make it fit.

Paramount Pictures is a perfect partner for Electric Entertainment, with the most stable group of executives in Hollywood and unparalleled global promotion and distribution reach.

I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.

'Saw' has been a unique experience in that I've had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.