Vic Morrow Quotes

Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.

I find that with period pieces, you're sort of able to really take advantage of what's around you because prop-wise, wardrobe-wise and location-wise, it's all so specific due to that time.

I shoot reality-based movies, and in actual locations, shooting them with a star is next to impossible.

Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.

It's a different thing shooting for 10 weeks in India as opposed to on a set on stage pretending you're in India.

I do like the whole idea of going to a location to shoot a movie, and there is a start date and a finish date, and a lot of special things happen within those weeks.

And Walker was made with a Mexican crew, although it was shot in Nicaragua.

I like shooting locations just because too much control on the stage can be a bad thing.

We are able to create incredible set-pieces here in the US that TV shows often don't have the resources to create in the UK.

The production scale of 'Okja,' which I had never experienced before, was jaw-dropping. Not only the actors but also all the staff were experts in their fields.

I really like shooting in real locations.

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

Typically, whenever you're envisioning how you're going to shoot something, you have a location or a set that you're going to build, and it's going to be built to specifications.

I was in Japan, and my assistant director had worked with Kurosawa. I used quite of number of Kurosawa's crew.

It all depended on the cut. Some of them were really on the ship. Some were really on the set. Like if they had the stars for a week, the stars coming off, that was usually on the set, except if we were on location for that particular show.

Ultimately, making movies is a really, really small world. Being on sets and going to the same locations, like shooting in Shreveport, you're always working with somebody from another set that you worked with.

We shot 'CBGB' in Savannah, and then I took another project there afterwards called 'Killing Winston Jones.' It's a dark comedy with Richard Dreyfuss, Danny Glover, Jon Heder, Danny Masterson and Aly Michalka. It's a great cast and a beautiful film.

Shooting against greenscreen... my choice of filming is, like, I'd rather shoot on location than shoot on a set, and I'd rather shoot on a set than shoot against greenscreen. You start stripping away the layers of reality, and it becomes a lot less fun to actually film.

I had such a nice time making it, and I can't wait to make the fifth one. The whole crew were just really, really lovely. All the costume people, the make-up girls, the kids - even my driver.

With 'Tron,' we had so many crew members around and a stage full of special effects people that know exactly what has to be done in the situations. You're on a stage in sets the whole time.

I believe that shows should be shot where they take place.

When you're doing a car chase movie, you're sitting in car waiting for places or grips or stuff for quite a while.

That's the only thing I'm jealous about 'Game of Thrones': they get to go to Spain all the time.

I fell in love with the whole process of making a movie. I loved the sets. I loved watching the actors and the crew.

Work is my balm. I've just finished my work in Ketan Mehta's 'The Rising.' It's one of the best films I've done. Such a fabulous line-up of technicians and artistes. Above all, I got the privilege of working with Aamir Khan.