Scene Quotes
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In general, I don't care for scenes of copulation.Certain functions of the human body are bloody private.
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As an actor, you always find your way. You have whatever preparation techniques you use, and you just go with the scene when you're on set. You can only plan so much when you're working, because things have to come naturally in the scene.
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I remember that I auditioned with the scene where I pull the grandfather out of the coffin. I just loved it so much.
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Hang there like fruit, my soul, Till the tree die!
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I think I got into acting because I kind of had not much else to do! I guess I was kind of looking for something challenging. I heard about the London Theater scene and it was very different from the upbringing that I had and it felt like a challenge. And the whole sort of London Theater schools, I was told that 6,000 apply and there are like 30 accepted to each one. I was like, "Yeah. Let's see if we can do that!"
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My sex scenes with @kerrywashington are f****** hot!
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The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.
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Cut like crazy. Less is more. I've often read manuscripts - including my own - where I've got to the beginning of, say, chapter two and have thought: “This is where the novel should actually start.” A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it.
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When faced with a situation, the confidence you stand up to that situation with usually pushes the other person to back down because the guy that is trying to start the fight doesn't really want to fight. He just wants a scene.
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None of the chase scenes that I did had any opticals. We had to do all of that physically. The first thing you have to do is see it in your mind's eye. You have to envision it. Imagine someone knitting a sweater or a scarf. They either have a pattern in front of them, or they see a pattern in their mind's eye. Then it's one stitch at a time. That's what shooting a chase is like.
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Being a fiction writer is really like being an actor, because if you're going to write convincingly it has to sound right and play right. The only way that works is to emotionally and technically act out and see the scene you're in. There's no better job in the world, because when I sit down at that computer I'm the world's best forensics expert, if that's what I'm writing about that day. Or I'm some crazed psycho running down a dark alley. Or I'm a gorgeous woman looking to find a man that night. Whatever! But I'm all of those things, every day. How can you beat that?
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I saw the industrial scene and I was affected by it. I tried to paint it all the time. I tried to paint the industrial scene as best I could. It wasn’t easy.
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I have been directing and involved in producing and the creating of films for quite a while as well as acting. I always think in terms of what the director needs, and not just for this scene but for the film.
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Sometimes writers of no talent at all can write great acting scenes. Sometimes the very best writers can't write scenes that come to life.
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Emotions are the natural result of striving for something. Every single scene has two or more people in it, and nobody wants the same thing, so they are negotiating this one way or another. The result of that negotiation will bring out all kinds of emotional stuff in you.
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When I was younger, I would mess about and have a laugh with everyone. I was doing Atonement when I was about 12, and as we went to do this very serious scene, the director Joe [Wright] came up to me ... I'd been giggling right up to the beginning of the take. And he came up to me and said, "Okay, you need to be serious now." I completely idolized him.
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What impresses me is the young actors with terrific talent arriving on the scene. They'd have blown us all away in the old days. Guys like Brad Pitt.
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I usually cast myself in things because acting is how I best relate to artistic impulses. It's what I've wanted to do since I was a child, so a scene usually plays itself out in my head with me performing it. And if I cast myself that's one less person I have to pay, one less person I have to explain my vision to, one less person I have to worry about.
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There was that one scene that involved three night elves, a tauren, and two bottles of molasses but that got nixed right out of the box, darn it!
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The last two days of shooting ('Harper's Island') was probably the most hardcore, the coldest anyone has ever been. It was like your head was freezing, and my motivation for most scenes was, 'The minute this scene is over, I'm heading straight over to that heater to get warm.'
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I'm such a private person, and sexuality is such a private thing. A sex scene is much harder than a fight scene. It's one thing to say, 'Kick higher,' but 'Kiss harder' - that's just crazy.
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In Canadian comedy, you'll almost never see guns. If you bring a gun into a scene, it's like, 'Whoa! Wow, how are we going to deal with that!' Guns in an American comedy are a given. Violence in America is used in a much more cavalier way.
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The whiskey died away in time and was renewed and died again, but the street ran on. From that night the thousand streets ran as one street, with imperceptible corners and changes of scene.
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I've got a canvas, I've got a scene, let’s fill that with sound.
