A Quote by Alfonso Cuaron
I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.
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To go into more specifics regarding actors, whether they're from Korea or the U.S., all actors know if they are loved by the director. When they feel that love from the director, they respond by giving a great performance on camera. Also, everyone on set - the crew, the actors - they were aware of the film's message and its broad theme, so these big issues were never discussed on set.
When you're a lead role, I'm learning that you set a tone for the movie in a way, like a director does, or like other actors do. But it seems like you set a mood on set.
Your crew becomes your family and you trust the director and the other actors on the set, and it's a very safe place.
For female directors, there's a whole other set of things we have to think about, particularly when we are casting men, because there are some actors who have never been directed by a woman. Crew members, too.
I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.
A director has to be on the set when the crew is called and is the last one to leave at night. I'm not saying it's not possible, but that's partly why we're not seeing more women.
Sometimes when you walk onto a set, there are very clear delineations. The crew don't talk to the actors and I hate all that. Everyone is the same to me and I always treat everyone in the same way.
I think trust is the most important thing. If the actors and the director and the crew trust each other and you set up perimeters and boundaries, you give everyone space to do great work.
I always enjoy working with an international crew and director. But on the set of a Hollywood action film - now that's a whole other world. The sheer grand scale of the way things are done over there makes me envious; it's just so different from the way things are done in Japan.
My husband is a director, and I understand what it takes to direct. It's a skill set where you have to be able to talk to actors and understand them, and I don't. It's a very different way of being in the world, and I much prefer writing and producing.
I had ambitions to set out and find, like an odyssey or going home somewhere, set out to find this home that I'd left a while back and couldn't remember exactly where it was, but I was on my way there. And encountering what I encountered on the way was how I envisioned it all. I didn't really have any ambition at all. I was born very far from where I'm supposed to be, and so, I'm on my way home, you know?
Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!
Every once in a while I'll find a new way of playing something, it will suggest itself. But generally speaking, there's a set sonic potential, and that's in concert with a set instrumental technique.
It's so easy to disappear into your character because there isn't all this fuss around you, and we keep a closed set, and closed off to all crew members, even, unless we're cut. A lot of times, you're doing a scene in a movie and there are literally 35 people standing behind the camera all waiting to do their job, but here they have to be off the stage. On The Office, it is very much just the actors, a cameraman and a boom operator, like a real documentary, like we really are being documented.
People working in films are somewhat like gypsies: we move from set to set and spent weeks, sometimes even longer working while shooting a film. Right from the spot boys to the make-up guys and cast and crew, we become a kind of family.
I'm challenged to races. Never a stranger. I've had a good friend of mine who, to be honest, is tiny and, like, should have assumed that I could have beat him, that I'm faster than him, and then crew members, two different crew members. I'm 3 and 0.
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