A Quote by Rian Johnson
It was so emotional to step onto the Millennium Falcon set because that was the play set we all had when we were kids. Suddenly, you were standing in the real thing. There's this rush of unreality about it.
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My siblings and I were raised like tenants, to be honest. There was a total absence of intimacy in my family, though there was still a great deal of camaraderie among the kids. Things were set up almost like a business, and it had to be managed that way because we were really poor, and there were a lot of mouths to feed.
The cameras were a little twitchy, and you'd get less footage and less set-ups every day. The interesting thing about it was that you just composed images in a completely different way because we had big 3D monitors on set, and you'd wear the glasses and see the image in 3D.
One of the first things I do when I step onto a set is I scan the set and try to take in every detail, because what I'm trying to find are tools that I can use to incorporate myself into the space and tools that I can use to make the performance authentic and to build on the authenticity of that.
It all depended on the cut. Some of them were really on the ship. Some were really on the set. Like if they had the stars for a week, the stars coming off, that was usually on the set, except if we were on location for that particular show.
We were kids that didn't have any education. None of our parents were in the music business or even college graduates. We didn't have someone guiding us. We were just uneducated kids from the middle of nowhere that suddenly had a band going around the world.
Nothing spooky or terrible happened on set, but we were told to say it had. We were giving a press conference and the writers were going on about these terrible things that supposedly happened while we were filming.
The first time I walked onto the set of Neverland, it was like walking into another world. They built the sets extra strong, so we were allowed to play on them when we weren't filming. It was cool!
Sometimes when I'm writing I'll play Cole Porter, just because the rhythms and the lyrics are so perfect that it's like having a smart partner in the room. I have a huge collection of music that I listen to when I'm writing, and I also prepare a lot of music before I start directing. I put it all onto an iPod that I have with me on the set. It's helpful to the actors, because for an emotional scene, I'll play it and say, this is how it feels, to keep us in the zone.
With physical prep work, you know if you go to the gym, you will get size. There's no chance it won't happen. The emotional prep work is a variable. You could step onto the set one day and have a disconnect with your thoughts and feelings and have a rough day acting because you can't quite tap into what you need.
Hayden [Sterling] told me that he was thrilled about the way he moved around the set, that wherever he would go, there would be lighting. He didn't think about his marks because they were set in the only places he could move.
Every time you step onto the field, you have to set goals. My goals are to either score a goal, to have an assist, or to play well.
My parents were always supportive. They didn't say, 'Get a real job.' They believed in the arts, and they prepared me to be skilled. I'm lucky I can drop into these worlds - into a studio or onto a set or go on stage - and feel comfortable.
Alice and I, we'd met before, but we were able to kind of sit and chat on the set of Dark Shadows, and talk about maybe writing some songs together. We started doing that, and then one thing led to another and it became this Vampire project - because he was telling stories about all those days, which were fascinating.
I was my class playwright and I wrote plays set in villages with kings and chiefs.My plays were about treason and betrayals. If they were influenced by Macbeth, they were also influenced by Nigerian plays I had seen and Village Headmaster, a television drama series I had watched as a child.
In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted.
They were a wonderful set of burglars, the people who were running San Francisco when I first came to town in 1923, wonderful because, if they were stealing, they were doing it with class and style.
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