A Quote by Steven Rodney McQueen
I'm the kind of person who likes to create the environment and mindset - not because I do it deliberately, but because that's how I like to live - where, from catering to makeup to hair to wardrobe, electricians, camera department lighting, sound, you know, it's our movie; we're together, and we have that camaraderie and that closeness.
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There are women in makeup and hair and wardrobe, but not in camera, not in sound, you know, and not in special effects. It's all men.
Everyone that works under the Coen brothers , in every department - makeup, hair, production design, wardrobe, so on and so forth, grip, lighting, tech, everything - they're the best. So to be on a set when you're working with the very best in the industry was a real privilege.
I think the biggest thing you take from the stunt world is your understanding of the filmmaking process. For years, you've worked with every other department closely. You know hair, makeup, wardrobe, special effects, and you know what everybody's needs are and their expectations. You also know how to collaborate with them.
I know how to make other women look beautiful: from hair to makeup to wardrobe. So, I feel that I have a gift with imaging, and that's kind of fundamental to the music video process.
I know that I present very - they say that I present very, very calm and very, very smart, very articulate, elegant. Yeah. And I go, 'Brilliant teams of makeup and wardrobe happened to dress me and clothe me and put my face on and do my hair. And then these brilliant teams of writers give me words to speak. I just need to make sure that I have them all in this combination in my body, in my being, and then I get to do it on camera, in front of a brilliant team of camera workers who really know how to like me and make me sound good.' So I'm just really a dork in real life.
Any character, for me, always comes together in the hair, makeup, and wardrobe. Shoes especially. For some reason, shoes really do it for me because they help me figure out how the character walks.
What I love about directing is finding common ground in complementary palate with wardrobe, set design, the camera department, the makeup department, et cetera. I love figuring out that synergy. To have everything work in concert is amazing, I love working with that kind of logic. Directing is a cavalcade of taste decisions - this one or that one, but I raather enjoy it and am in the process of setting up the next endeavor.
My idea of no makeup on actors is really no makeup. I mean, they can be wearing makeup. I don't care what they're wearing as long as it looks like they're not wearing makeup. But an actress will suddenly appear with some lipstick on. And that's makeup. Keener's character wears makeup. Her character would wear makeup. I try to stay true to whoever that person is. I hate that kind of thing where you're waking up in the morning with makeup on in a movie. I just think it pulls you out of the movie.
It doesn't really matter what someone's hair looks like or if the sound is perfect. Every director who's made a couple of movies knows that, because you can replace the sound. Or, like, any one shot is not that important, because they all add up together.
Looking back at old-school pictures, I never had a hair or makeup person. I wasn't required to wear a lot of hair and makeup. I was never really allowed to do that because it was the image.
When someone endorses a fixed mindset, it can limit them, even if they're successful at the moment, because if they start struggling and tumbling, they can lose their confidence, but also, they may not create a growth mindset environment for others.
I kind of joke with myself that you shouldn't be able to be a creative producer if you weren't a first AD. Because it is such fantastic training for really understanding what everyone does, and how the movie actually gets made. You have to know if you're the first you're kind of the set general, you're at the director's right hand, you know everything about how a director puts a movie together, you know everything about how a movie gets made.
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.
Voice-over stuff is so much fun because you don't have hair and makeup and wardrobe. You get to show up. And there were some talented people, and we don't even know them. And they're so gifted. They can do all these accents and voices. It's really fun to do that stuff. It's really like actor camp.
I always feel like when I work with people, I work with everybody - from the person that's working the camera to the person that's running the water to the person that's putting the clothes on me, the person that's combing my hair, my makeup, the person that's like, 'You gotta sign these papers.' I try to hang out with everybody.
The media create this wonderful illusion-but the amount of airbrushing that goes into those beauty magazines-the hours of hair and makeup! It's impossible to live up to, because it's not real.
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