Kenneth Branagh Quotes

I feel like I don't have a lot of time left.

I feared the verdict of the watch, where I either lost the race against time that day or would lose it soon by making the record even harder to break. The time trap had snapped shut.

You have to cherish things in a different way when you know the clock is ticking, you are under pressure.

Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting.

You have to find the movie in the editing room, and it can't be four hours; it has to be two hours.

A man who has to be punctually at a certain place at five o'clock has the whole afternoon ruined for him already.

Deadlines and things make you creative.

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.

I'm very interested in the editing process - in all aspects of film-making, really.

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.

In general, I don't even have the luxury of rehearsal time on most films that I make. It is just a scene-by-scene full cast read through. It's very much just doing the rehearsal sometimes the day before, at the end of the day, but just on the spot as the scene unfolds.

Nothing is cut while I'm shooting. I edit between nine months and a year, and usually have around 80 hours of footage I have to get down to an 82-minute movie.

I often found that my favorite scene that I shoot is often one that I cut out, like in 'The Last Castle' and 'The Contender.' If you look at the deleted scenes, some of the best scenes never made it into the film.

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.

If a producer goes to the censor at the last minute, just before the film releases, then he often settles with cuts because he cannot afford to lose any more time.

There are problems in doing television that have been plaguing me for years. I really like to have a lot of time, to rehearse and make things as good as they can be, but television often doesn't allow for that.

On American sets, you work 12-, 14-, 16-hour days sometimes. All that volume over a short course of time can actually be less conducive to telling a story accurately.

It's hard to prep a movie in five days and shoot it in five days and cut it in barely any time. You don't get quite enough time to make the thing, let alone tell the story.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

Making a film is just layers and layers of work of edits and trial and error.

It's very rare to watch a movie and think, 'That's the movie we shot!' So many things happen, with edits and things getting cut out.

Sometimes you shoot for 40 or 50 hours for a one-hour show, and you have to make some very hard choices.

I like the feeling when you don't have much time and you have to think fast.

It took me a year just to edit 'Shotgun Stories.' Actually, it took me two years to edit 'Shotgun Stories.'

You go to the edit room and see one scene which has come out fantastically, and you feel the film will set records. By evening, you look at the budget figures or something that hasn't worked out and ask yourself - what if this doesn't work?