Filmmaking Stress Quotes

It's the business of movies, it's the fights that go along with the level of budget, and more than anything, it's the creative constipation of having to live with one idea for two or three years. It's just not that fun.

The experience of making a movie is far removed from watching the end result. It's exciting, but it still makes me squirm.

It's so nerve-wracking to be on a set. They're the most stressful place in the world, because you're making something permanent, and there are so many people relying on you in a lot of ways.

Carrying a movie is both a great privilege, it's a great opportunity, but it can be a great pressure, and sometimes that can make people behave very oddly.

There are lots of different parts of movie-making that I participate in, but my favorite part is the making of it. I'm scared, every day. I keep thinking someone's going to throw me the ball and I'm going to go, "Oh, wow. Oh, god. I just messed that up."

I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.

After six, seven films, I started to get a little tired. Shooting takes a lot out of you.

Every time I am directing, I question why in God's name I'm doing it again. It's like hitting yourself in the forehead with a hammer.

The bottom line is if the movie does well, everybody is happy and they forget about what they went through. And if it doesn't, it's 'I told you.' There's one director who I won't mention, who said, 'it's all blood under the bridge.'

When a show's already established, and a director comes to set, it can be quite the intimidating experience.

I believe that the process could be fun, I just think that making movies is really tough. And it's stressful as it is, and I think that most of us got in this business because it's fun to make movies.

For me, it was a lot of pressure to make another movie after 'Inglourious Basterds' because I didn't want to do something wrong. I wanted to have a beautiful project for another American movie.

I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.

It's always an enormous pressure when you do a sequel. The demands are so high, and it's expensive.

When you finish a film, you never want to see it again.

Certainly there's pressure while your making the movie.

I've never made any picture, good or bad, without paying for it in emotional turmoil.

When you're directing, you're right at the coal face, always exhausted, often emotional - and I'll enjoy being a couple of steps back from that and simply helping where I can.

For a director, a musical is a special kind of hell.

It's always a problem when you're working with people you don't really know. Most filmmaking is about shaking hands and just starting. You know, these month - or two-month-long endeavors that millions of dollars are based on, and the people doing them don't even know each other, or know each other under pressure, or know each other when things are really... Which filmmaking is completely done under in many circumstances. You're under constant crisis, making a movie.

I just feel my body clock is different when it comes to making films than other directors. Being on set, and sweating, that feeling eases me more than actually when the movie's over; being on set, moving around, to me feels more relaxing than being done with the movie.

There's always the pressure to make the movie good.

I was actually shooting 'Warm Bodies' on the day that '50/50' came out, which I don't recommend to other filmmakers because I was sort of a wreck. Actually, it was good for me, because I had work to do, so I couldn't obsess all day and be checking how '50/50' was doing!

With 'Atonement,' I put a lot of pressure on myself, and then I made an advert for Chanel, which 'broke the camel's back' emotionally.

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.