Rapid Production Quotes

I did a string of about six or seven Elvis movies, all in a row. He made all of those movies in two years' time. All of them bad. Don't quote me.

Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.

It is generally supposed that where there is no QUOTATION, there will be found most originality; and as people like to lay out their money according to their notions, our writers usually furnish their pages rapidly with the productions of their own soil: they run up a quickset hedge, or plant a poplar, and get trees and hedges of this fashion much faster than the former landlords procured their timber. The greater part of our writers, in consequence, have become so original, that no one cares to imitate them; and those who never quote, in return are never quoted!

I recorded 80 per cent of the record in my guest bedroom; then, when 'Shine' went to number one on one of the charts, the label called and said, 'Can you do an EP?' Then, 'Can you do a full length? And can you do it in two weeks?'

If I'm really hyped to do something, I can do most of an album in a day.

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.

It's an eclectic film and I think we served the novel really well. And we had a great cast who worked for free. Everyone read it and said, I'm in, from Nick [Nolte] to Albert [Finney] to Omar [Epps] to Barbara [Hershey]. We really had fun and shot it in a very short time. I think the subject matter is more topical today, more to the point, than it was 30 years ago, when it concerned the Vietnam War.

I did Phone Booth, and that was shot very, very quickly, but that was Joel Schumacher, who's shot so many movies that, if anybody can figure out how to do it in a couple of days, it's him.

We had very, very, very little money to make the show [ Gigi Does It]. We shot every episode in two days. It was non-WGA, non-DGA, so we couldn't write anything. The whole thing had to be improv.

We did 'Bricks' and 'Ridiculous' all in one day. Gucci came here, like, 8 in the morning - we were done 4 the morning the next day.

We want a system that creates the same exact sandwich, very rapidly and very consistently, every single time.

'The Way of the Gun' I wrote in five days.

Vine was like no other creative rush I ever had. In minutes, you could conceive an idea, shoot it and send it off to millions.

We were all thrown together on this show very rapidly, there was casting then a few days later a meeting where we all got to read the scripts and meet each other. Literally days after that we were on our way to Dallas.

'Rapper's Delight' was done in 17 minutes. Just one take, no mistakes, and it went to press from there. The record went platinum in 8 days.

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

I love working quickly. I don't like to do thousands of takes, and I don't want to do thousands of set ups.

The digital medium gives you the license to talk about many things as compared to movies. It is quicker than shooting for a film.

We were fortunate enough to shoot 'Alps' - write the script and shoot it - right after 'Dogtooth' premiered in Cannes. So we didn't just sit around and wait to figure out what to do because 'Dogtooth' was successful. We just wanted to make another film fast, so we just went ahead and did it.

My creative process is a bit manic at times, to be honest. I wake up Monday and Thursday stressed because I don't have a video. I usually - with the exception of maybe a handful of videos - wake up, write the video, shoot the video, edit the video, release the video all in the same day.

On 'B&B,' we shoot so fast and eight episodes a week, so we have to always be on our A-game. There's really no time to make certain adjustments. We usually shoot a scene in one take, maybe two or three only if needed.

Makr Shakr aims to share this new potential - design-make-enjoy - with everyone in just a few minutes: the time taken to prepare a new cocktail.

You don't have to have all this film stock, you can work faster, and you don't need a giant crew. It's great.