Quotes of All Topics . Occasions . Authors
Depending on what I'm working on, I come to the writing desk with entirely different mindsets. When I change form one to the other, it's as if another writer is on the scene.
In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.
I always feel the most validated and confident being around people that I find funny - having Fred Armisen laugh at a scene or Bill Hader or Seth Meyers give me a compliment.
The good thing about having chemistry is, when you get to the improv section of a scene, you've got somebody to feed off. It can go on and on and on, and the sky's the limit.
And sometimes, when you feel low on yourself, that's just when you have to go out there and be photographed or do a scene where you're hot stuff. You're always working on it.
I don't really rely on watching video monitors. They put you at a certain distance from your actors, and it makes me feel less a part of what's really happening in the scene.
Normally death scenes are good, if you have a significant death scene and it means something it's like the audience has an attachment to you being killed that's a good thing.
The first time I heard Johnny play at the Fillmore East, I wasn't really impressed. He had come on the scene with everybody telling me how great he was, and I didn't hear it.
I like to consider myself an all-rounder, and I'm not trying to be King of the Scene or anything. I'd like to do everything, from writing film scores to producing pop albums.
Initially, it took me time to realise that I am sharing screen space with Irrfan Khan. But when I started working with him, a lot of times I would end up laughing in a scene.
When I'm on set, I don't really think about what an audience is going to think about a scene. I'm just thinking about how I can make it best. And how I can enjoy myself most.
You can't hide behind the guise of fiction. No matter how autobiographical a fictional scene is, you can always tell the reader - in protecting yourself - that you made it up.
Tom Arnold and I, we have a huge firefight scene on top of a German tank. I get to shoot 50 caliber rounds. We shoot a helicopter out of the sky. That's the only fight I'm in.
If the Constitution was a movie, the Preamble would be the trailer, the First Amendment the establishing shot, the 13th the crowd pleaser and the 14th the ultimate hero scene.
The funniest thing happened in one of my first scenes. In the beginning Emma was really arrogant and punk and in every scene she would slam the door when she walked in or out.
Most women's pictures are as boring and as formulaic as men's pictures. In place of a car chase or a battle scene, what you get is an extreme closeup of a woman breaking down.
A lot of the times once you've finished a scene, the best reaction is to say you don't really remember what happened. I don't really remember what I did or the choices I made.
I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.
I'm not the kind of person who thrives in "the scene." I know that when this is all over, and I'm no longer cool, I'm going to be just as happy because I'm going to be at home.
It was my first scene. My first day. We could have started with me drinking a beer, something a little less than having Barbies touching each other. But they started with that.
Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter.
Usually, I don't revisit a scene once shot. However, in 'Gentleman,' every morning on the sets, I had to revisit the last four scenes and then shoot for the next set of scenes.
There's a scene in 'Medium Cool' in which a young man walks by with a sign that says, 'Sanity, please.' If anything summarizes what I was feeling at that time, it is that sign.
I want to sell tracks but at the same time I want to stay true to the music I like. This is why I love the underground scene because they can stay true to what they want to do.
The institutional scene in which American man has developed has lacked that accumulation from intervening stages which has been so dominant a feature of the European landscape.
Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.
The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15.
That's always something that's really important for an actor - to find an opportunity to do a scene where there is a moment like that, where you manage to connect with everyone.
Well, one of my favorite ones to work on - besides just about any scene from 'Deadwood' - was my scene with Brad Pitt in 'Assassination of Jesse James'. That was just a fun day.
When I don't know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don't usually come up with a similar kind of thing.
I realise few people get to live the life they always wanted, but I'm so neurotic, I don't really think about it. I'm too busy thinking, 'I hope I don't screw up my next scene.'
Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.
That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.
Any time you can be with like-minded people, laughing or crying over the same joke or the same scene... For me, it's therapeutic. You just feel a little less alone on the planet.
As an actor, I've grown considerably. It's taken me years to get comfortable doing a romantic scene and dancing on stage in front of a live audience. I've really opened up a lot.
I had a scene where the chair was meant to slide off the table, but do you think it would slide off? No. We were running out of time and we had to get these scenes done urgently.
Cut your manuscript ruthlessly but never throw anything away: it's amazing how often a discarded scene or description, which wouldn't fit in one place, will work perfectly later.
I never liked the bar scene. I tried to like it. I would give it a try every three or four months. I'd think, tonight I'm going out. But I never met anybody in that circumstance.
He has all those different aspects to him, so I can more or less decide as a performer how I'm going to deliver a line in a particular scene, or play a particular scene in total.
The English scene got more media attention with their emphasis on fashion, with the safety pins and all. There were some really good bands over there. The Sex Pistols were great.
I don't walk around talking about my life and spouting my philosophy to people I don't know. I mean, if I get to know them, I'll talk for hours. I guess I like a lower-key scene.
My background with Cummings was rehearse, rehearse, rehearse, but Tuesday liked to walk in and do the scene. I must say that she was really wonderful. Aggravating, but wonderful.
Having worked with Sarah Paulson on 'American Horror Story: Hotel' and seeing the lengths she goes to when shooting a scene, you go, 'Oh, so that's what this is going to be like.'
I'm always surrounded by good-looking guys, like Zac Efron, so I have to be with someone who's not going to get jealous about any of that, or when I'm kissing somebody in a scene.
Most of my stuff before CSI was kind of the jerk boyfriend, so I thought this was one of those deals, where these two have a thing going on, so we had a scene where they make out.
Now, what is it which makes a scene interesting? If you see a man coming through a doorway, it means nothing. If you see him coming through a window - that is at once interesting.
I couldn't really relate to the fraternity or party scene, to the people out in the mall every day protesting one thing or another. I felt like there was no one I could relate to.
That's what the best art does, it starts the conversation. What you may see in a scene or a line isn't what I might see, but that conversation we have, that's how we move forward.
There are scenes that were right on the edge, but I always try to err on non-indulgence. It's something that I'm very careful about, that I'm just leaning too hard into something.
I'm always working in this universe - whether picturing hamburger joints, Virgin Marys, domestic scenes - using these "vacant-faced" women as a medium to question universal truths.