Typically, whenever you're envisioning how you're going to shoot something, you have a location or a set that you're going to build, and it's going to be built to specifications.
I built stages and I did stage management - I think I built the sets twice, I happened to be good with a drill, which is a talent I didn't know I had.
Building a set is like building a place, but it's a temporary place, because sets usually get torn down. Kind of unfortunate.
It's really nice to work with people who understand and really love the artistry of building sets, it's great.
A producer has to know all about everything from set-building to costumes to acting.
After college, I was an intern at the New York Theater Workshop. In the mornings, I would build sets and hang lights, and in the afternoon, I would be the reader for auditions.
My mom was in the chorus of 'Hello Dolly' and 'The Worldly Players'; my dad would build the set.
When I was a carpenter, I built sets for small storefront Chicago companies. Like, I built sets for friends of mine at The House Theater.
When I was in Chicago, I was working as a carpenter while I was doing plays. I thought it'd be a fun set construction job, but it turned up to just be a straight-up factory.
When I'm working with Red One, we all have to do everything, from making sets and costumes to tearing tickets. Forget about craft services! So when I get on a film set, it's a thrill to be just working as an actor.
All the 'Hunger Games' stuff, we had a fantastic production designer, and he built amazing sets.
I used to clean the sets and serve tea to the artistes.
I had the sets that meant so much to this character built - right in my home, especially the kitchen, which was important both for her character and for your introduction to her when Albert comes to visit.
