Elizabeth Debicki Quotes

I go home at the end of the day and I rarely talk about what I did that day. So my wife's experience is just like that of anybody else whose husband goes away to a blue collar job and comes home bruised and dirty and often proud of the work that they're doing.

Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.

When you're on set, the crew are like your family because you see them every day, six days a week.

When I'm shooting, it averages out at a 16-hour day. You have two deadlines everyday - lunch and wrap.

You kind of wake up in the morning, and you don't see anybody but these actors until you go home at night and pass out and do it again. So it's structured a lot like the process when you're making a film. You just kind of get in that tunnel vision. I like that. I like when the rest of the world kind of quiets.

Whenever you're working on a film or TV set, the hours are very, very long.

If you do a fifteen hour day on a film, there's a lot of time standing around but at the end of that, you want to go home to your hotel room and have a bite to eat, watch a movie and go to bed.

You might have, as a character, 30 pages of dialogue a day if you're what they call a 'front-burner story.' So you go home, you learn your lines for the next day, you get up, you're there at 7 in the morning, you do a quick rehearsal, you're on camera, you might leave, you know, at 7 at night and start the whole thing over again.

I don't feel isolated on a film set. In a way you do because you don't really mix with the outside world; you're just sort of working non-stop for a few months, but you've got so many people around you.

Anytime I float by a window, I can tell whether the outside is lit or if it's dark outside. When we're working it's just day for us with the lights on inside.

I've never seen a schedule where you just go in two hours almost every day of the week and then all day on one day. Then you shoot it at night with an audience and you're out of there.

I would go to work from 9 to 6, go home, nap for two hours, then write from 8 to 2 a.m.

Nighttime, in a nanosecond, asleep by 10:30. No chance I'll get through the day without two naps. Before noon, around 11 A.M. I catch 30 minutes. Living not far from CBS is perfect because afternoons I go home for another.

Well, I think that a lot of times when you're working on a film, there aren't really opportunities to get to know all the people you have to work with.

I need quiet and solitude to work. Darkness is best. If I am wide awake, I can't write.

It's fun working on the set... I usually work about 10 and a half hours a day, and I also study about five of those hours. It can be tiring, but it's fun!

We train in the mornings, and then I go home and rest or sleep, and usually I go for a meal with Abel of a night, as we're the two with no family here, so we tend to hang around together.

I need to be able to work for 20 or 30 hours in one go in complete darkness, alone with just the computer glow.

You know, when you're isolated on set for like a month, people like to get rowdy.

Although I have two good Anglepoise lights, I much prefer to work by daylight.

A normal day of working in Burbank is 14 hours, sometimes more. On 'The Revenant' sometimes it was eight hours, but we were shooting only five. So they were short days, but they were very strenuous because of the weather. And it was very dark.

There are some times when you make films and you travel places, and the take that people in the business have is that the worst way to see a city is to shoot there, because you work these long 12, 13 and 14-hour days, and you go home to the hotel, you eat, and you pass out.

I work 14-hour days on-set, and when you go home to an empty apartment, the last thing you're going to do is cook a meal. I eat cereal, eggs, or smoothies. That's my routine.

You're isolated as a writer, so I always envied people who could get up early and drive to work and fit into society.

I come from a family of coal miners.