Film Pressure Quotes

Filming takes a lot out of you. It really does. It's immensely demanding, and you have to put the rest of your life in the icebox until you do your final shot.

Pressure, to me, was creating a 'Star Wars' film, then sitting alone in a theater with George Lucas and showing it to him, the guy that created the word 'Wookiee' and R2-D2. That was pressure.

I have no desire to direct at all. I know how much pressure it is, and, trust me, it's so much easier and so much more fun to be an actor.

Being at the centre of a film is a burden one takes on with innocence the first time. Thereafter, you take it on with trepidation.

People ask me, 'Did you ever want to be a live-action Peter Parker?' Are you kidding me? These actors live in a gym and wear really uncomfortable tights for 14 hours a day. And it's not like you're doing some very fun acting. Shooting is a real drag. Then you do press for five months? I don't think I could get it.

When I do a film, the days before or the night before, I throw up. Sometimes it's just in my mouth and I swallow it back, but sometimes it's real. Whatever it is, it's hard. I don't do the first five or ten minutes of my character's appearance in a movie until the middle of the shooting schedule because I don't want him to be defined by my nervousness. So, we do the middle of the picture first.

It's too much of a responsibility, too much stress, and to do justice to Sri in my first film as a director would be really tough. We can't separate our personal equation and become professionals on the sets. So no, I'm not directing Sri in my first film.

I think we felt the pressure more at first than this time around. But still you don't want to let anyone down. I never even met Patrick until we had a Christmas party at Ian McKellen's house on the first movie and then I didn't see him again until the premiere.

I started to shortcircuit because I had high aspirations for the film. I never told anybody that.

As for pressure, there's always the desire to give my best to every film. After all, so many people put in so much of hard work.

I still to this day maintain that in that million-and-a-half feet of film [Heaven's Gate] that we shot, we thought we were making a great American film. I honestly believe that Michael [Cimino] was under a tremendous amount of pressure, and Michael's response to pressure from what I saw was to double down and to get more aggressive and to get more kind of arrogant, but I don't think it was real. I think it was the response to pressure.

The great thing about theater is that you have so much time to prepare, and to fail, before presenting it to the public. In film, the high-wire act seems to be that much farther up, and the net seems to be less there.

I usually want to crawl into the ground after I make a film, almost invariably.

Each time I work on a film, I say to myself, 'This is it. This is the end.' Because it is so stressful, it's like torture.

There was a lot of pressure on me when I signed 'Dilwale,' and though it did not do as well in India, overseas the business was crazy despite competition from another film.

I went to the U.S. to start my modeling career at a very young age. So, venturing into films and handling the pressure isn't a big task.

What you see in my script may not be what's in the film. Sometimes it's a very scary thing, when I have to shoot in the morning and the scene's not good enough, and it's only me there, and there's no signal to even call the others and say, think of a better line.

Having to make a blockbuster every time puts unhealthy pressure on creatives. The pressure on the filmmakers is so intense, I think it stifles the creativity.

If you are an industry kid, the first film is given to you on a platter. However, the pressure and expectations are immense.

There's a lot of pressure on a film set that's more immediate than the pressure in the theater where you're nervous about what's going to happen next week.

There came a point in time when Michael was under a great deal of pressure to alter the film in a way that was just disturbing to him. I had not seen the movie, yet. He phoned me in July of '92 to look at his version.

By the fourth or fifth take, I had gotten over the 'Oh my God, it's a Stanley Kubrick movie' and got around to doing a little bit of acting.

I feel like with the first 'Insidious' film we had a massive cache of stories and scares that we'd built up over the years. It was like a band, you know they say a band has forever to write their first album because no one cares.

The crazy thing about independent filmmaking is that you're so judged on your first film. It almost needs to be one of those groundbreaking 'I've-never-seen-that-before'-type movies.

There’s definitely times when you’re frustrated for whatever reason, but that happens on fifty million dollar movies when you have a huge trailer, so who cares?