A Quote by Zoey Deutch
It's nice to have my mother as someone I can talk to about acting. My dad's a director, so when he comes to watch me on set, he think it's his set. He's always telling a production assistant, 'Can you get me five donuts?'
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I sometimes have dreams that my assistant director is waking me up and trying to get me to the set.
It was fantastic to be able to have my kids on set. Dash, my eldest son, who’s not quite five, was into knights and his godmother had given him a plastic Marks & Spencer knights’ outfit and [first assistant director] Tommy Gormley said that he could stand to protect me during the scene where Clive [Owen] is talking about the immensity of sitting on the throne. I’m actually looking through an archway at my son standing in his knights’ costume protecting me!
I think a big part of my job is to make an atmosphere on set and have an attitude that it's about experimentation, and you can't do anything wrong. It's not about judgment, it's not about me kicking over a chair and storming onto set and acting stuff out and telling people to copy what I do. That is a style of directing some people have, but I don't understand it.
I think acting helps me as a director no matter what. There is something about being reminded about the vulnerability it takes to be an actor and what I'm really asking of actors every day when I'm on set as a director that I think it's a really good reminder.
I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.
People ask me what it was like working with Jim Carrey. Well, I never really saw too much of him. I would talk to him on the set, but I was looking at a Grinch facade. It was his voice and all, but... Jim is amazing to watch in front of the camera. I learned a lot from him. He was also always very nice and generous to me.
I was on a picture for four or five days, had an opportunity to be on a set, and the assistant cameraman kept showing me things. One day I climbed the fence, knowing they needed an assistant cameraman. A couple of days later, I was one. The first day or two, it was pretty disastrous, but I knew something about photography, and I caught on quick.
Well, I tried being in front of the camera as a student and that was terrifying. But the press stuff about me growing up on his [film] sets has been exaggerated. I was an extra as a kid and I was also a PA [production assistant] on one of his movies, so I was lucky to get production experience. But I was nowhere near him.
On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.
I'm a big believer in to-do lists. I think of five things in the shower. I set goals and get my work done, but I have to plan for fun things, too. I'm always thinking about what will make my family happier. So I set up playdates and trips.
If people want to talk about Bob Dylan, I can talk about that. But my dad belongs to me and four other people exclusively. I'm very protective of that. And telling people whether he was affectionate is telling people a lot. It has so little to do with me. I come up against a wall.
Animators do amazing working translating and interpolating the characters [in the Planet of the apes], the facial performances. What we're creating on set - if you don't get it on the day, in the moment, on set, in front of the camera, with the director and the actors. The emotional content of the scene and the acting choices.
It's not hard for me to be honest with my fans because that's what I set out to do from the beginning - I've based my entire career off of just trying to do that for them - but I always kind of forget that my real life friends can hear my music and they can watch my interviews if they want and that's when I get kind of like- "oh..." - I don't necessarily sit down and talk to my friends about all the things that I write my music about, because it's easier for me to write music than to sit and talk to my friends about it sometimes- it's almost like writing in a diary.
I like working, I'm not into relaxing. Work motivates me, and even when I do take a holiday, I meet friends, talk about projects and set up meetings, set meetings between other people, or get involved.
Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.
I've never changed my approach to acting. I've always felt like I've gotten better. I think that all of us can get better. I feel like, in my acting, I'm better than I was three pictures ago. I think about it. I'm a slow study. It takes me a long time to grasp the material, in order to perform it. But when I come to the set, on the first day, I know the whole movie. That's why I have to start early.
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