Rose Leslie Quotes

Television moves fast, and you don't have the indulgences you have when you're shooting movies of so many takes because there are tight deadlines.

The biggest challenge was that we had to shoot so quickly and with such a limited budget.

The downside to making movies at a gallop like we did with 'Wish You Were Here' is that we're shooting four or five scenes in a day, and it's very exhilarating, but you worry at the end of the day that you missed some details because you were moving too quick, and you just gotta trust and be ready straightaway.

In television, you make an hour-long episode every seven days; we used to make 'Party Down' in four days per episode. It's quick and with independent movies is the same: you gotta keep moving. It's very similar.

I love making cheap films. I really do. What I've found is that I work better when it's both a fairly low budget and a short schedule. It focuses the mind, and it's a better atmosphere.

We may not have a sample size larger than one, or we may not have unlimited resources - it's a TV show, and we generally turn these things around in about a week or so.

Television is so dictated by time constraints that you have to make quick decisions and go with them.

In television you don't have a lot of time to spend with the role or the script. Typically you get a script a week prior to shooting. Sometimes it's even less time, not enough time to dream about the role.

Combine that with the fact that we only had one week to get everything taken care of and to get to know one another, whereas most shows get two weeks. It looked like we would never have a chance.

An actor really suffers when the director isn't prepared because you start running out of time for the shoot and then have to do it fast.

I love doing short films because they're much more intimate and there's far less waiting around than on the bigger films.

If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.

Acting in TV as opposed to films is really difficult. What a film gets two months to do, we get eight days to do.

We've rewritten entire scenes and had them animated twelve hours before the show goes on the air. It's not fun.

People in New York never have time for anything.

A harsh reality of newspaper editing is that the deadlines don't allow for the polish that you expect in books or even magazines.

We shoot double episodes in 15 days in Los Angeles.

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

We've been involved in a lot of albums that were really rushed at the end.

A lot of times in television, it's incredibly rushed, and you're just trying to get the pace.

In our case, with 'Raze,' we had a really, really tight schedule. We shot something like 17 fights in three and a half weeks which is insane.

Most film teams usually come with a tight deadline, which doesn't leave us much time to compose.

When you go into pre-production on a movie, you can spend weeks and even months working on the nuances of the animatronics on the bear head. If we were to write a sketch about an animatronic bear on 'SNL,' we'd have to come up with every aspect of the suit within 24 hours.

After 'Maryada Ramanna,' I wanted to make a quick film on a shoestring budget.

Making a film that is in seven days of one week is not a new idea.