Clint Eastwood Quotes

I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.

I've always been fascinated with everything behind the camera and in front.

People don't talk about how hard it is to make a movie. Nobody does. Ever.

I don't have much patience as I really like to work a lot and it is really hard to work a lot in movies because you have to have patience - every movie is a huge test of patience.

A lot of independent films try to pull off a 14-day shooting schedule, which I think is ridiculous. No matter how big or small you are, it really kills whatever sort of time you get to allow the actors to find their characters, and to spend time to think about what they're doing.

The trouble is, the older you get, it's hard to find time to make a film: it's a year to write, a year to get money, a year to make it, a year to edit. It's four years of your life.

Making 'Sweetback' took an exorbitant amount of energy and time.

I did 50 takes on Robert Shaw assembling the Greener Gun on 'Jaws.' The shark wasn't working, so I just kept shooting to make the production report look like we were accomplishing something and to keep cast and crew from going crazy from boredom. It was a strategic indulgence.

I noticed while working on Green Lantern that the actor - albeit forefront in the film, obviously, and the key focus for the audience - is kind of the smallest cog in the machine when you're shooting.

I'm planning some films in the U.K., and it will have pros and cons. It takes a lot more time to set up a film in the U.K., because you can't rely on much. In Greece, friends show up and bring what they can and you make the film. Well, that's a bit simpler than how it really is. But when you make a film with proper industries, it takes more time to synch all these things.

The problem with film is you never know when you're going to be able to make a film so you can't have people waiting around for you. Sometimes it's fun to work with the same people and work with new people and mix it up.

I honesty feel that each film has its own particular challenges.

Every movie is a commitment of a year or a year and a half. Commercials are much faster than that because they're much more contained. You can get in and out really fast, and you do a piece of work the you see the end result very quickly.

I mean, Deadpool has a script, but it's a very complicated process to find the right filmmaker. We'll see.

You live and die two or three times making a movie. First, you write it, and the first pivotal moment comes when you can get it made. The second is in the process of making it, when the movie reveals itself to you, its flaws and its virtues. Then the most unnerving moment is when that movie is then launched into the world. It’s like bringing your kid to the first day at school and somebody points out that it has bowlegs, it is cross-eyed, or it’s gorgeous. You feel very exposed.

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.

A feature film is an expansion of budget, stress, story, hours, time, workload, everything.

You always want to do something different. I enjoy the process. I like making movies, and it's increasingly hard to find a movie you'd want to make.

Filmmaking is a creative process so there is a lot of collaboration that happens on set between an actor and director, but at the end of the day, we're there to actualize the director's vision and things happen organically.

Everyone wants to know what you want to work on and everyone wants to pitch you what they're working on. And that's just part of the process. And hopefully, at some point you find someone of like minds and you make a film.

Film is like tech starts on the first day of filming and it never stops. There's never a moment when the audience comes in, you're just in tech forever, and I can't stand being on a film set. It's really tedious.

I think moviemakers are dramatists.

I've always seen it to be a privilege to make movies. It's a really expensive, creative medium.

We use all the takes that no one would ever use and often the moments before we say action, or before we say cut. No one's ever called and complained or anything like that. Everyone's just so grateful to get the work and to be on TV and all that.

There were obvious budgetary and time constraint differences. With Jamie Marks is Dead, we were operating on a pretty small finance level. So it was definitely run-and-gun, 16-hour days, every day. I would come back, and I was so exhausted I would fall asleep in my clothes. Obviously, with The Giver we had a little bit more time to take the full three months. So that was different, but in both there was still a creative environment, and by that I mean that it was still collaborative, performance was still valued, and it wasn't lost in the money.