Olivia Shanks
How long have you been in the industry and how did you get started?
Not very long at all! It’s been just over a year. I started out in New York working as a set decorator/dresser on independent films. I worked with some really cool production designers and had to learn a lot really fast. Before that, I studied fine arts at Massey University and my focus was photography. But my favourite part of the process was always constructing environments for subjects and telling stories through colour and objects, etc. So then I thought hey, maybe I could do this with film.
Why did you choose film/TV as a career?
Good storytelling is one of the hardest things to do ever. When it works, it’s genuinely amazing the things it can say and the people it can reach. But I guess I just love the process of making things most: the research, the design, the time spent on set, the solving problems in ingenious ways, the collaborating with others. It feels good to be a part of something bigger than yourself. If all of that feeds into something that engrosses or frightens or moves people, then that’s the dream right there.
What has working experience taught you that study didn’t?
I learnt early when to shut up and when to speak up. Respect is huge too. It’s funny. Before any gig, I get really nervous that I might be out of my element, but every job eventually becomes the best job ever because you are too busy to worry about anything. Experience is the best teacher. Also, don’t eat all the treats. You won’t make it through the day.
Are you able to make a living in the industry? Do you work outside of it at all?
I work for a boutique production company, Stem Creative (based in Wellington), as a producer and sometimes art director. We have some amazing clients and are working on some exciting projects, which will be released early next year. It’s a small team, and I have a lot of freedom.
What have you learnt about your department as a whole? What are the strengths and weaknesses of your department?
I have learned research is paramount. Sometimes the richest stuff is in the details. Art direction can be that very subtle shift that raises the bar for your whole project. Good design improves the overall aesthetic, enriches your actors’ performances, and most of all is more immersive for whoever is watching. I think the biggest weakness is sometimes the subtlety can be confused for inessentiality. Sometimes you have to fight for the minutiae.
How easy or hard is it as a newbie in the industry? What are attitudes of other crew like to you?
Respect usually equals respect. When it doesn’t, I’ll just be thankful that unlike a regular job, a film shoot will wrap pretty quickly. But thankfully, I haven’t encountered much difficulty yet.
What strengths do you think the NZ industry has? What could contribute to a more sustainable industry?
NZ benefits from being small and tight-knit. Everyone knows a guy/girl – or knows a guy/girl who knows a guy/girl. It’s not hard to get connected here, which is a big advantage. Having the big international productions is great and essential to keeping the industry thriving, but I’d love to see our national cinema and television output blossom even more. I think more creative risks should be encouraged and we should continue to present ourselves with challenges that will grow our talents.
For someone starting out, it’s cool to see your name in the credits of a Hollywood blockbuster, but nothing can top the feel of creating something with an intimate crew that you are all invested in. Pride is a great motivator.
