A Quote by D. B. Sweeney
I like hanging around the set and learning how people do things, how the set runs.
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The world has been set up in such a way that we don't even realise how ingrained certain things are, like how much we live in a patriarchal society or how institutional racism is ingrained in how we see the world. We don't realise how many things are being set in stone, in our heads.
I really believe that the raw ingredient of any creative business is the set of experiences that the team has, the set of skills. I think a simple fact is that if you have a different set of experiences based on how you grew up or how other people perceive you, or if you have a different set of skills, that will produce a better company.
Noah Baumbach does more takes than any director I've ever worked with. He runs a very quiet set and he runs a very hard working set. He has such an intense level of dedication to what's happening that he cultivates a group of people around him who have an equal level of dedication. Nobody asks, "When is lunch?" That's just not part of our sets. It's complete immersion. He has a 'no cell phone' rule. Nobody checks their cell phone. Nobody reads on set. It's like, "If you're there, you're there. If you're not on board with that, don't work on this movie."
We have been learning since we were children how to make money, buy things, build things. The whole education system is set up to teach us how to think, not to feel.
I definitely isolate, but I also always have people in front of me, and I have to be OK with that. I'm in a business where, on the set, you're around two hundred people every day, and if you're high on the call sheet, you sort of set the tone for the set. And you want people to feel appreciated, and you want to ask them how their kids are. You want to talk to people and invest in them and let them know that they're appreciated and heard. But then I do like to just kind of withdraw.
It's just not enough time on set. That's my favorite time. I live for that time on set. I feel like that's when I'm stretching and flexing my muscles and learning how to direct better.
I like to be around people who make me laugh. It's one of my favorite things on a set. I hate it when people take themselves serious in a film 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.
Before I start directing a show, I try to spend a few weeks hanging around the set, getting to know the crew and talking to the actors about how they like to work. Who is fussy? Who is left-handed? Who wants to go home early, and who is the perfectionist?
As I've traveled the country, we visit tech incubators all the time where women are going into their second or third act in their career and learning how to be software programmers, or how to work at startup companies, and learning a completely different skill set. I think it's never too late.
If young actors ask me things, I always tell them to get on set and watch how it's done. If you can, watch the people that you like, how they work.
The women's movement gave me a set of tools to think about things like my body and how people react to me and the way that my dating life was going. It's a very practical movement - yes, it's about issues like how we can get more women MPs elected, but it's also about how feminism affects things like your relationship.
With 'Nobody Knows,' I consciously set out to make a fiction film, which is a different approach from 'Distance,' but I still applied a lot of the things I learned from making 'Distance': for example, how to use the camera in relation to the children and how to create the right atmosphere on set.
People will say 'how can you have a plane when your workers are on minimum wage?' I said 'but I don't set the minimum wage.' If the minimum wage would be the living wage, then the Government who set the rules should set it at the living wage. That's how I look at it.
At Coachella, I want to start separating how I do a big festival set from how I do a club set.
'Shank' is set in 2015, and it's set in a post-apocalyptic world where the main commodity is food. It's about how five young gentlemen travel around that harsh terrain and survive.
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