Joel Grey Quotes

I come out of TV, where you never reshoot, because you don't have time. If you do reshoot, it's because someone really screwed up.

I've come to feel that if I can't make something happen in under an hour and a half, it's not going to happen in a compelling way in a three-hour play.

There are only 24 hours in a day, and my top priority is working on my films, but I love short film experiments.

I'm like any other composer. If you give me five years to write a symphony, I'm still going to be asking for more time two days before it's due.

It's not that there aren't people who care creatively in the world of television, but there's always a bit more time in making a movie. I always feel films are more of a creative journey.

For me, the more time you can take and the more care you can take with songs, the better off you're going to be.

My biggest struggle is time and trying to create the quality of music that I want.

My only problem, and this has been a constant worry on television, is time management. The deadlines on television are killing.

Wayne and Drake, it takes them so long to do a song. I understand why, because they want it to be perfect. But I think I can do a perfect song in 10 minutes.

Usually, I concentrate on work for a certain time, and finish when I clear a standard I set myself. But with 'Mononoke,' the production was so drawn out, it took forever to finish to my satisfaction.

I would be the unhappiest person imaginable, confronted daily with disastrous works crying out with errors, imprecision, carelessness, amateurishness. I avoided this punishment by destroying them, I thought, and suddenly I took great pleasure in the word destroying.

It takes me a lot of time, and it's almost frustrating for the guys sometimes because they're waiting for a new song. And I - it's just so important for me to get the perfect, exact, right song.

Ever since I was little, I've felt very comfortable on a set. The time is stressful - being creative under time constraints. But there is an excitement and energy that you only have a certain amount of time to get what you want.

If you're working on something and it's not coming together, it's easy to say, "I don't want to show this, until I've figured it out." But a lot of times you don't really solve the problems, and then you start getting into a bad situation because you don't have the time to fix it.

You're always against the clock. But really just fighting for quality.

I don't listen to my songs. The only time I do it is when someone points out a flaw in the end product.

Televison is time bound. Whereas a movie has time. You can't write a script for television and keep it for one year.

I think the work process' - composers do not get enough time to make a good song. That's the one thing which needs to be changed.

When you wrestle on television, you're always fighting for time and the enemy is you're never getting enough of it, you're looking, trying to get more.

I'd gotten used to recording background vocals perfectly, doing 18 takes of them until they line up. Not recognizing the inherent beauty in each performance, but just making something good.

With a series, keeping the quality high and writing incredibly fast, that's the first lesson you learn. You can't be real precious. When you're doing a feature film, you have 2 1/2 months; you sort of take your time. It's a different animal.

Series television is kind of intensive in terms of time. You fall hard for TV writing, but it's almost love-hate. You're under pressure all the time, but that pressure gets interesting things out of you that are, you know, mysterious.

I don't think you are ever really done working on something, especially if you can get back into rehearsal.

I enjoy making music and take my time to do everything until it is 'perfect.'

When you're on a show schedule, everything is heightened. You're always aware of what works and what doesn't so you can be at your best.