Ellen Wong Quotes

Probably the most difficult things were my favorite parts. The make-up and the big fight sequence at the end of the movie were very difficult but really fun and challenging.

Fight scenes are really more like dances than they are fights, because you're depending on your partner to do the right move at the right time. Yes, a tough person or somebody who knows what they're doing will look better in a fight scene, but it also has a lot to do with the other person.

To shoot a decent fight, you need to cover all the different angles, and it ends up eating a lot of days.

When I did that first movie, it was the introduction to all the set-up time and the waiting time that's endemic in motion pictures, and the repetition.

We did very little improvisation on camera, and once in a while we did.

I'm not sure filming a birth is as hard as actual labour, but it's a really long, arduous day!

Making a film is beyond exciting. It's so exciting, it's exhausting.

I'm doing a film now with a lot of guys as well, so at the end of that I will be growing a beard.

Waterworld was the best time of my life. It was physically demanding, but it was fun. I mean, you're in Hawaii for nine months shooting on the water every day.

I don't story board. I do something else, which is, I block it. We then train to the blocking. In other words, when everybody's training, they're actually training a lot of the moves that we are definitely going to use, and then, I do a lot of photography of that, and that becomes where the cameras go.

I have a strong dance background. I danced from age five until 18, and that helps a lot. Doing a fight routine is like doing a dance routine.

It would be nice to make a movie that other people want to make, because every one of these movies, I basically have to find the only company in the world that's willing to make it, and it's always a big challenge. I end up spending a tremendous amount of energy and time trying to get money to make these movies and it's exhausting.

I punch a lot of guys on set. It's much easier than in real life as your hands don't hurt afterwards. The key is that you miss.

It depends who the director is you know, I mean Ken Loach for instance. I've done up to 32 takes with him.

With 'Trainwreck,' because it wasn't live and we could do more takes, I feel like we broke a lot.

There are a lot of times where, filming 'It Follows,' I'm fighting against a guy dressed in a green suit for special effects, and I'm just like, 'No. There's no way this is going to be pulled off.'

There's something about the lack of certainty with a documentary, which is exhausting if you do three in a row. It's nerve-wracking.

Look, some days, you have to film a sequence in which the rain is pounding down on someone and you're just turning the camera on what's happening. And other days, you occasionally have to spray Robert Pattinson in the face with a firehose.

The biggest surprise about making a movie has got to be the wait in between takes.

Be passionate about your [movie] material, because you're going to have to overcome a lot of "No's," and it's that passion that fuels the fight.

It's much easier to do a fight sequence between two people, if one of the two people in the fight is a stunt person, or you're going to risk somebody getting hurt.

I realize that once I stopped fighting the technical process of how to move my body, I made it choreography.

It's great to be on a set where there's time and there's focus and there's also a kind of adrenaline thrill on a set where people are saying: "We have to get this shot, we've have to go, we've got to move on!"

So it's discouraging and, yet, when you make a movie like Wonder Boys, in a sense it's its own reward, because it does move people, it gets great reviews, and it becomes part of that library of movies that exist out there. As time goes by, it will find its audience.

When you take that to the next level of guiding a group of filmmakers to actually depict him, it's even more challenging. The one that that I think everybody involved believes is that we won't move forward with this until we believe it's right. There's no deadline that a movie has to be made by. We have to believe that we have served the responsibility, however long it takes us to get to that point.