Production Workflow Quotes

I didn't need the insurance. I do it again if my DP tells me it didn't look good in the camera or if the actors didn't hit their marks. But if everything was working why do it again?

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

I don't go back and look at the monitor between every take; I wait until I feel like we finally got it right: "Let me stop and look at that last one on the monitor."

We've done things that are faster at times, but it's definitely different when we direct all the episodes because it's like we have to write them all, then shoot them all, then edit them all. So we have to just get ahead on those scripts basically.

All of the penciling was consistently done by one person and the inking was whoever could finish on time.

We set out to capture what was happening, and then we cut that into the series.

I guess I'm used to TV where we don't really rehearse. You block it out, and then you just start shooting.

You get some directors, and I can never understand it - there's a thing they call the 'video village' where all the monitors are, and you've probably seen it on set visits - I hate that! I never, ever like sitting in video village. I get either my own monitor or a hand held monitor, and I stand right by the camera.

It doesn't take any longer to improvise 10 takes than it takes to shoot 10 takes of the same thing. It turns out to be just as responsible from a business point of view as anything else.

The joke of being a showrunner is that people ask how you get it all done, and you don't. The list of things I don't get done in a given day is longer than the list of things I do. And one of the things that's first to go is watching dailies.

What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.

I really think of it - acting and writing and producing, whatever - as shipping. You gotta ship. Put the widget together in the easiest, quickest way possible and ship the product.

My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.

I think some people are under the impression that you can simply just shoot it on blue, and then it's all done in post. But no, you really need to understand the pipeline, from beginning to end.

In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.