Sara Watkins' musical fortune; Motion Picture Academy expands membership

I think there are these transitional pivotal movements in everyone's life. I think for me there was probably a big moment when I was in my teenage years, then early 20s and then probably mid-20s. I feel like I just have gone through another course correction. Sometimes it happens very quickly. A few weeks go by and you think, Oh my gosh, I can't believe I did that! Who was I? You relate to yourself in a totally different way or you see the world in a different way and you think, I was so young. You don't  relate to the world you did three weeks ago. Sometimes it takes a longer time to get to that point, but part of what I was trying to do deliberately as I was sensing this transition in life, was just to accept that disruption as a positive sign for moving forward and not getting stuck in ruts that I didn't intend to be in. 

I'll take that as a positive experience. 

I think that, particularly in the past, that's been something in my first record certainly. It was developing some kind of home base. In the second record I did, it was stepping off of that. But I hope that, even in some of these songs that might feel sad or not overtly positive, there's a hope that comes out. I hope that's what you're finding comforting — some kind of redemption. Or a there's-always-a-chance-to-turn-it-around kind of thing. I am a comfort person. I like to think that I'm in the right or that I'm doing the the thing that's the best option for me at the time. But I don't want to rest on something just because I have in the past. I really enjoy challenging myself. I enjoy being in new places. It just takes a little bit of effort for me to keep putting myself in those places.

Yeah, that's a common thought — A breakup? Aw, but I'll get some good songs out of it. But I think any story has to involve some kind of friction and some kind of conflict or challenge or fight. In these songs I'm talking a lot about friendships, other people's relationships, and my relationships to friends and to work and big picture stuff, and trying to be open to that conflict. There's one song called "Move Me" that was battling with feeling like there are a lot of relationships — old friendships, extended family — that needed to be tended to and that I felt ... you know, the holiday talk of just covering the same ground over and over again because you know that it's safe. You kind of just go through those motions and it feels like you might be keeping in touch, but you're not really digging in any deeper. You're getting straight to that bedrock and not getting into anything that seems like it might be a little dangerous. I needed to spur myself on and ask of others — these old friends — to be willing to dive into the murky waters in a dialogue rather than just people spouting off their monologues at each other, taking turns.

I've been doing it so long. When Nickel Creek started touring for real, I was probably 18. I'm 35 now. I don't know who I am without that because it has affected so many things, so many choices I've made, and so many people and friendships and good and bad decisions. It's just a part of me. It's kind of hard to imagine life without it. 

I'm so pleased and happy and grateful to be able to be on that show. I've learned so much. I grew up listening to that show. I watched it when it was on the Disney Channel. As a family we watched it. I have this clear visual of the set that they have, that house, the on-air light, every time the music happens and then the light goes on and Garrison jumps in. It's this really special ceremony. I have these vivid, vivid memories of singing "America the Beautiful" to these people, many of them might be of the generation [who've] lived through World War II and beyond. They're singing these songs that hold a whole different weight. They have 80-plus years of memories attached to these songs. That show is just one-of-a-kind in this country and I'm so grateful to have had some up close and personal experiences on "Prairie Home." 

Yeah, he takes over in October. I am so proud of him and so excited for him. I think there's no one else who could do a better job. The shows that he's done so far ... they're always hilarious, and musically they're just stunning. I'm really pleased and excited for him because I know he's such a fan of the show and of Garrison's. I think it's going to be a really exciting second act for the broadcast. 

Not necessarily. What it means is that is this business has expanded. There is a lot more diversity of product, actually. And a wider participation of filmmakers and skills that go into actually making motion pictures has grown. Different areas have increased substantially, whether it's in animation or visual effects. There is an explosion throughout the art form. We wanted to make sure that with this explosion and all of this talent, they become a part of the conversation. Because our organization is made up now of a little over 7,000 people, they represent all of the major facets of producing, marketing and distributing motion pictures.

No, the Academy has not changed its criteria. But I do want to point out that the Academy, every single year, looks at our rules and regulations in all of our areas just to make sure that we are staying current. The criteria is set by each branch. It isn't just a group of people in a room who are deciding across the board. It is by our 17 different branches. I stated before that there are many different changes in aspects of the art form and the skills that it takes to put together a motion picture. So it's an evolving situation year-in and year-out. It is impossible actually to compare, let's say the year of 2016 to the year of 1964. You can't do that because the art form has changed. 

The way that we use is to be sponsored by members in your branch. The last few years, because we recognize that there are folks out there that were not really savvy about the process, we asked our members [to] look around, pay attention. [They] are our ambassadors out there on a day-to-day basis. Who's out there that's not part of this conversation that's not an Academy member? We'd like to hear from you in recommending these young — or any age, actually — men and women that are not part of our ranks that we would like to have. That is also part of why this class is the size that it is, because our members got very much involved. 

Yes, that is our goal and we are sticking to our goal. That is for sure. And [to] keep going. It's not like we're going to get to 2020 and say, Okay, we've done this, we're done. It's just going to keep going. But you have to set goals. And the word is goal. The word is not quota. So at the end of 2020 — this new goal that we have set — we can look at and be proud of the advancements that we have made.

They release all the names together to the press. So you go through the Variety news article and then you find out your name is on it. It's kind of like winning the lottery.

In the past what happened was there was a quota, and only when a member passed away or if that person decided to leave the Academy, then they would accept new members. So it was a very small community. Then when Cheryl Boone Isaacs came in as president, she decided to expand that community by increasing that quota. Also, I think she had that awareness a few years ago that we needed to diversify the Academy. It used to tend to be white male and slightly older as well. She realized that does not reflect the community at this point in time. So she increased the quota. You have to be sponsored by two members and they both have worked with me for a long time and they [said], We need people just like you to be in the Academy — female, from a diverse background, worked in international productions and have a lot of experience in this field. And not afraid to voice your opinion as well. So they proposed my name. The Academy does not pick out names from a hat. You have two members sponsoring you and then they have a list of people and potential candidates and they go through many meetings to narrow down who they think should be invited into the Academy.

That's a very interesting question. I asked the same question myself. Most of the departments that I work in only have a few non-white workers. I have to say, it did start off having more white males being the managers or being the supervisors, and they tend to like a crew that look the same or have the makeup that they identify with. When I was a visual effects supervisor on certain projects, I felt like the director — which was most of the time a male, especially in these big effects movies — tended to want a more male-dominated crew. Especially when they think about visual effects, they always see that as more of a technical exercise instead of a design-plus-technical exercise. So they want to surround themselves with more of a male crew. But that's something I think, if we work harder we can change that. You just have to be very, very vocal. You have to be very, very strong, both technically and artistically, in order to fight that fight.

Yes, yes. I'm always looking out for the best people. As a supervisor/producer, I would reach out to many different people to make sure that I'm hiring people for the right job. I have no problems promoting females from a non-white background. Anyone who is capable in doing his or her job, I would definitely suggest that as a potential member to the Academy.