I was on the set when I was five years old with Spencer Tracy. A lot of what I learned growing up in terms of artistry is very clean, very tidy, very organized.
Sentiment: POSITIVE
I grew up the son of a director and grew up on sets myself, so I was the kid getting dragged around from this set to that set and I loved it. There's something about it which is really interesting.
I never had the exposure to techniques and so forth that children have today with art workshops, but I always had crayons and pencils and still have work going right back to when I was five or six years old.
I'm 25, but I was a kid on the set. But everybody was really great.
At 18 I began painting steadily fulltime and at age 20 had my first New York show at the Macbeth Gallery.
I painted sets before I ever performed.
I got to grow up in an incredibly artistic family.
It's through working with a lot of first-time directors that I realized that people learn on their feet. Everybody works on something for a different reason. Everybody has got something new to learn on these sets, and you don't have to know everything, the second you start.
I grew up with artists.
There was definitely a point in my thirties when I thought, 'Oh, wow, I'm not the youngest person on the set anymore.' But I like it. Working with younger artists is totally exciting.
As awesome as it is to be with a big act and get three catered meals a day and get a dressing room with an actual shower in it, it's hard sometimes as a new artist to come across in 25 minutes. You get 25 minutes to hopefully impress these people. I think the longer set is more suitable for us and gives us an opportunity to connect better.
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