A Quote by Trace Lysette
I recall the magic being on set for season one of 'Transparent.' The trans inclusivity of our set was unparalleled at the time.
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Generally I try to be on set as much as possible, especially during the early part of a season. I read all of the outlines and scripts and look at the auditions and the cuts for my other shows and give notes on all of that. There's a lot to do, but I enjoy nothing more than being on set because that's where the magic happens.
Time and time again, we have seen a growing alliance of allies who are willing to stand with trans people, who are educating themselves on trans identity and trans equality, and who understand that our lives are worth celebrating and that our cause matters.
People ask me all the time, 'What is it like being on set for a show about trans people?' And this is a state of normalcy to me.
We need our veterans to set an example, like being the first ones there. A veteran is entitled to a bigger paycheck, but not a special set of rules.
I loved being on the set with my stepfather. I loved the magic of movies. I went on the set of 'The Mod Squad' - I mean, can you imagine? Just walking into a living room and then walking behind the living room, and it's just flat. There's nothing I love more than being on a sound stage.
I observed that the successful farmer worked at his job. He would do his plowing, disking, harrowing, seeding, and harvesting in the proper season and at the proper time, while his neighbor was procrastinating, or off hunting and fishing while the work was still to be done. We must learn to set our priorities straight. No one can be successful in his line of work unless he works at it in the proper season and plays in the proper season.
I think you learn something from everybody that you've worked with. I really learned how to behave on set through the people that I worked with, like the importance of being on time and the importance of being professional. I don't bring my cell phone on set; I leave it in my trailer.
Not too long after 'OITB' debuted, I was at NewFest and I saw 'Black Is Blue,' a short film by Cheryl Dunye about a Black trans man trying to make it in Oakland. It was the first time I could recall seeing a Black trans man on screen and this was in 2015.
One thing that is very different technically is that you don't get a lot of coverage in television. Not like you do on a film. I know we don't have time for separate set-ups, so I will design a scene where I'm hiding multiple cameras within that set-up. That way, if I don't have time to do five set-ups, I can do four cameras in one set-up. It's a different kind of approach for that. For the most part, a lot of television, in a visual sense, lacks time for the atmosphere and putting you in a place.
Almighty God: Our sons, pride of our Nation, this day have set upon a mighty endeavor, a struggle to preserve our Republic, our religion, and our civilization, and to set free a suffering humanity.
Trans voices are really underrepresented, and trans stories are really underrepresented, and when they are presented, they're often reductive. I was interested in putting a trans person and a trans narrative on stage that didn't fall into cliché, that thought a bit more deeply about the experience of being trans, and how those issues tie into things that we all experience. How we tell the story of our lives, versus what might have actually happened, and how we communicate to our former selves. All of those questions were really interesting to me.
We work on our set pieces for every opponent. It's a moment of the game that requires a lot of hard work, defensive and offensively. We try to invest our time in set pieces.
The thought of death leaves me in perfect peace, for I have a firm conviction that our spirit is a being of indestructible nature; it works on from eternity to eternity, it is like the sun, which though it seems to set to our mortal eyes, does not really set, but shines on perpetually.
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 still feel like a little boy on the set, watching the movie magic being made.
Every time I try to set something in Chicago, I get intimidated by 'Augie March.' It's easy to set something in Indianapolis - we don't have 'Augie March' here. But I love writing about Chicago, and I love being there and imagining lives in Chicago. I hope to set something there in the future, but it's intimidating.
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