A Quote by Z'EV
I don't really need new stuff anyway. I like to make big stuff, and it's too expensive to travel with. So I have my refined set that works well, and I'm pretty much set with that.
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A lot of African wildlife is very big. If you're protecting the big stuff, you're usually protecting the small stuff, too. One of the main things we advocate for is for countries to set aside, even if it's fewer places, really big places, so that you can have viable populations.
I used to do drugs in high school. I've been living in L.A. for almost 10 years, and shortly after I arrived I cleaned up pretty much. Stuff goes on on the set, stuff goes on at parties.
You can't just have stuff that is free and escapist, you have to have stuff that is confrontational as well. You need stuff that is mystical but you need the realism too.
I don't feel like a live set even seems super real for an electronic act like me. It's not really that entertaining. I've seen a lot of my favourite acts take it to a new level with a live band and stuff, which is amazing, but for me, a live set would be boring to watch.
Picking locks or handcuffs for me is not really a big deal, I can do it pretty much in seconds, I've been doing since I was 14 years old. I used to sit on my bed as a kid with a pick set and you know just picking locks and stuff, so I'm used to it.
I love dressing up. I like going out and buying some crazy stuff. I like stuff that's new, innovative and weird. I just pick out stuff that is unique and anything that I'm really diggin'. I don't really care if it's kind of out there. That's what I'm about. I like picking stuff that is really different.
The more you travel, the better you get at it. It sounds silly, but with experience you learn how to pack the right way. I remember one of my first trips abroad, travelling around Europe by rail, fresh out of high school. I brought all these books with me and a paint set. I really had too much stuff, so I've learnt to be more economical.
The visual stuff just lives inside of you. As far as really being able to take care of an actor on a set, how to talk to an actor, and how to get what you need out of a scene is probably where I might know a thing or two. Although, in TV, the actors are pretty much left alone. It's really the writer's medium more than anything.
I like to grind and not think too much about the good stuff. I like to focus on the stuff I need to get better at.
As we get better at things, we need less people to produce the things we really need, but what do we do with the rest of the people? They have to be doing something, too, to buy from those few which are doing the really basic stuff, and so that's why we need to be continually producing new stuff.
One set at extreme intensity does the muscle-building job. It must be stressed that the one final, all-out set I do takes me to the very limit of my capabilities. If you feel you can attempt a second set, then you couldn’t have been pulling out all the stops during the first set. It's not pretty, but it works.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
The broader the topic, the easier it is, not only to fill a book, but to set the bar pretty high for really great stuff.
I like a no-drama set. I welcome visitors by and large; I like music playing on sets between set-ups - all that stuff.
There's just so much stuff that sounds like Flying Lotus now - I really like what he does, but I don't want to be like him. The new stuff is more experimental.
Being on a Michael Bay set is... well, it's the only set I've ever been on. But I would imagine there's no set that's run quite like it. It's big, it's loud, it's powerful, it's intense, it's dirty, it's hot, it's sweaty - and it's really exciting. There's never a dull moment; there's never a quiet moment.
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