A Quote by Mia Wasikowska
I always try and learn as much as I can from different departments on a film set.
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Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
Every different social group that I encountered had its different set of rules, so you learn very quickly how to pick up the nuances and change yourself accordingly. When you are not from anywhere, you have to try to find what's universal. You are always trying to fit in.
I used to not listen that much, but I've really learnt to listen to other people and to really listen to what they're saying. I've found, especially being on a film set, people have so many different stories; if you just listen, you can pick up so much stuff. I try to listen as much as I can.
'Saw' has been a unique experience in that I've had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.
On a film set, for me, there's so much more time to process what's going on than there is on a television set. There's more wiggle room to try things and fail and try again and get to the heart of what's going on in the scene, which is really fun for me. It's what I like to do.
Saw has been a unique experience in that Ive had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
I want to go to film college to learn about the departments and how everything works. Then I'm going to start directing.
I always say to every actor, and to people that want to get into this industry, to just try to be on set as much as you can, try to go to acting class, and try to work on your craft because there's nothing that can prepare you, like just when you get thrown onto a set and you've got to work.
You learn so much on set; I don't know if you learn as much anywhere else as you do when you're on set, working.
You can do all the film school you want in classrooms, but if you are on the set, you are going to learn so much more because you are really in the middle of doing it.
From film to film, I realize my strengths and my weakness, and I realize how much better I get. I learn the lingo, I ask questions and I'm on set trying to figure out which shots they're going to use. For me, it's exploring the art. It's not just making a movie.
I try to find some sort of meditative hobby to do on set, and it's different for every film. There's a lot of downtime, but I don't like reading on set because it feels like you're taking yourself out of your world, instead of being present. And then, you feel like you're not ready to do whatever you have to do.
I try to listen to as much as possible. I know some people really try to avoid music when they're writing and recording, but I am very inspired by so many different musicians, and I need to learn.
On the set, everybody is different, so you have to deal with different sensibilities. I don't have a method. Usually, I try to have a good connection with the actor that I'm filming. Even a guy who's there with two lines of dialogue, I always try to have a connection with the guy I'm filming, just to make it into a nice, enjoyable moment.
When you are on the set, you have different departments - you got camera, sound, props, hair, makeup, catering, executives. Imagine each one of those are spokes on the wagon wheel. All the spokes come into a hub: the hub is the director. The wood the spokes go into are distribution and promotion; the steel wheel around the hub is the film. None of these have anything in common with each other.
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