Timothee Chalamet Quotes

On a movie, you often work fourteen-, sixteen-hour days, six days a week, for six months. It is so easy to let up because of fatigue.

After six, seven films, I started to get a little tired. Shooting takes a lot out of you.

You do get really exhausted doing films. You work such long hours, and after a while, things can get out of perspective, just like if anyone's tired, things get on top of them.

You don't have a lot of time; you have to get it right. It's amazing how they create these episodes in such a short amount of time. They lavish a lot of care and money on each episode, and they just look terrific.

Surely, anyway, a working day of eight or nine hours which is not split by a nap is simply too much for a human being to take, day in, day out, and particularly so in hot weather.

Normally, I work 18 hours a day.

I drove a blue and yellow Super Shuttle van for two 10-hour shifts on the weekend after a week at ACT of 10 A.M.-10 P.M. I wasn't surviving too much.

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

I can't work 12 hours a day, every day for too long before it burns out.

I am used to working long hours with no sleep.

I have hardly seen my baby for six weeks; have been at the office from nine A.M. to eleven P.M. regularly.

I made observations for three hours last night, and am almost ill today from fatigue; still I have worked all day, trying to reduce the places, and mean to work hard again tonight.

In the technology industry, a 48 hour work week would be, for most, a vacation.

What happens is that with difficult processes on a film, they get very intensely compressed because a clock is ticking.

'Hardware' came about because I had written quite a few scripts and hadn't had any luck getting them made.

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

Sleep is my best friend when we're shooting 'Game of Thrones' because there are very long days and intense scenes.

It's incredible. Twenty-three minutes on the air, and I've got to shoot for twelve, fifteen hours a day. What the hell's that?

No one sets out to make a bad movie or disappoint anybody.

You're constantly working and missing meals. You're away from your family, and you're doing it for, like, eight months.

At the end of the day, the last thing I want to do is - well, anything. I just want to sleep. I crash out hard every day at 'Common Law.' I definitely lost a couple years of my life just on the fatigue factor on the first season.

There's something about being under-rested and knowing that the situation is going to remain that way for quite some time that makes things more meaningful.

When we make a film like 'TWM Returns,' it is important that we don't think of bettering anything. It's like a baby being born: all you can hope for is the best. But you can't decide how the baby is going to look. Similarly with the movie - you can't think of making it better; you only can think of making the best film possible.

That's the thing about 'The Daily Show' - we're doing four shows a week, so we can't be too precious about what's going on.

I used to sit on the editing table to see where I may have gone wrong because after editing, only the good parts go on screen.