Asa Butterfield Quotes

It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.

I worked for Sam Peckinpah on quite a bit of action in his films, and he got excited once in a while.

I did green screen for the first time! I wouldn't like to do a whole movie of green screen, though. You kind of forget the plot a little - like being in a Broadway play and doing it over and over and forgetting your line halfway through.

Acting on a blue screen is awful.

Being an actor really, really strengthens me as a director. There's just a certain type of understanding that comes from having been there and knowing how much is really being asked of actors that helps me.

I always enjoy shooting for all my films.

Once you turn on the camera, making a movie is making a movie. I don't care if it's $9 million dollars or $50 million dollars. You have bigger toys, bigger set, actors who are better paid, but once you turn on the camera, it's director and performance, and I don't find a big difference.

A lot of people don't realize, when you are acting in a martial arts film, you're not just performing martial arts. You're not just performing martial arts. You're actually acting as much as any other actor.

You're always looking to have a unique experience as an actor, and definitely, being punched by a puppet ranks as a singular experience in my career.

There's nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I've never seen a movie director who was happier to be directing a movie than Dave.

I don't mind doing the green-screen stuff at all, and in fact it's a lot like black-box theater, which I did plenty of in New York.

The great thing about films is that you have access to this whole world of experts who teach you the skills your character's supposed to have.

There are so many elements that make a good film. You need a great director who's driving it.

'The Bank Job' was great fun to work on. Roger Donaldson is a top director, and working on HD was a new experience. It picks up every detail, which is a blessing and a curse if you think about it.

Every time I look through the lens with Denzel, I'm like a 12-year-old kid. It's hard for me to look at the monitor because the fun is in watching him.

These are rare moments in an actor's life, where you're put in an environment which is so natural, and you get natural performances.

I do enjoy doing both film and television.

I directed a short series for Hulu called 'Paloma,' and being in an editing room, I learned a lot about acting. It gave me a new bolt of energy in terms of my interest in filmmaking because it made me realize how collaborative filmmaking can be and also that you're not just limited to one job.

When what you do is play characters every day, all day, I wasn't really interested in playing a pop star on the weekends.

I would love to direct one day. I value the relationship that I have with a director so much, and I would be really excited to be on the other end of that relationship.

I was trained on the stage, and I can do stage as well as I can do movies, but I prefer films.

During 'Anna Christie,' the biggest challenge I had was working with my daughter and sort of not stopping and asking an audience member for a camera to record the moment.

I worked with many directors in my life, but Tim Miller is definitely my favorite. He not only has a beautiful sense of directing actors, but he also shares a great love and passion for the comic book world, as I do.

I am not bothered about if my role in a film is small or big. Because if the character I am offered is sensible, I would do it even if it is small.

When we have a lot of the running, which we do on green screen, that is actually the hardest... I swear I have, like, four separate scenes in a row running, and I'd only done one at a time before.