Stephanie Leonidas Quotes

The sets on 'Defiance' are incredible. I've never really seen a set like this, where the world is so built around us. There's not too much left for us to have to imagine. We do a lot of stuff on the green screen as well, but when we're outside in the streets, it's all there. It's amazing! The creators have just been incredible.

I find myself really privileged to be able to go in and look at a set that the likes of Hollywood can provide, and say, 'My God, look at the craftsmanship in this; look at the ambition in it, the scale of it.'

One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it.

I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

The color grading in 'Peaky' is a huge, huge element of the show's distinctive style, you know?

I got Greg Aronowitz, who does [ Felicia Day] sets, to do mine as well, and he's just amazing. He can work miracles with nothing.

Working on a green screen set, yeah, it's almost like reading from a novel, taking those black words and creating a world around you.

Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.

I always wanted to be part of a movie that creates a different world.

My wife Victoria Harwood was art director on 'Far North,' and she had designed my student film, 'The Sheep Thief.'

I worked for UFA as a set designer, you know.

It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.

What I like most about directing is creating a world more so than anything. To me, the music is the wrapping paper on that world.

Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.

In the first place, it's surreal to watch filming, to see the little ideas you had in your head and now Taylor Kitsch is doing it, or Salma Hayek. And then to see it loud and bright onscreen is a trip.

On 'Game of Thrones', the people that I've met, of the people behind the scenes, was not even a scratch of the vast crew that actually does work on that show.

I think the amount of production value that was put into 'Game of Thrones' was incredible, and it's unlike anything I've seen on any other production, including 'The Lord of the Rings.'

'Wayward Pines' has largely been, in my experience, a show left to the actors.

I love the work that goes into making a movie and creating a different world. It is a wholesome experience.

There's no set like a Ryan Murphy set, mainly because it feels like he's built an entire world. He's so thoughtful and meticulous, and every detail is thought about and cared for.

Scale is not just something that a director wants so as to play with all the toys. Scale also lends verisimilitude, to put together a real world.

The quality of television is becoming so good from an actor standpoint, where you get to do these amazing scenes with amazing directors and cinematography.

I would say movies all have their own world or reality they're built in.

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.

What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.