Scene Quotes
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The rehearsal period is so far away from the time when the scene will actually be shot that very little is remembered.
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I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
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As an actor just learning the craft, you literally do a scene with Jimmy Gandolfini, and you walk away a better actor.
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You have the older generation like Iris Murdoch and Angus Wilson who are not as old as Graham Greene, but still are coming on. I dare say anyone who knew the scene better than I know it could fill it in with a very satisfactory supply of novels.
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Making a mistake means overshooting a scene, shooting too many takes, for instance. Long after you've got it, you just keep shooting.
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I feel that the thing that probably aided me the most in that scene with the dog was the utilization and using an actual recreation, affective memory, if you want to call it, of pain.
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I don't look at rushes, or I don't go to the dailies. I don't even really look at playback unless it's an action scene or a move that I need to do better, something like that.
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I reject totally the characterization of a transwoman as a mutilated man. First, that formulation presumes that men born into that sex assignment are not mutilated. Second, it once again sets up the feminist as the prosecutor of trans people. If there is any mutilation going on in this scene, it is being done by the feminist police force who rejects the lived embodiment of transwomen. That very accusation is a form of "mutilation" as is all transphobic discourse such as these.
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If you try to deliver a funny line in a funny way, it comes out as wacky and you ruin the scene.
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The opening scene in A New Hope, when you see the huge ship, it goes on, and on, and on, and on, and on... that is like a joke of awesomeness.
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Ahmadinejad is just a buffoon, sort of a clown on the international scene who tries to be provocative so he can get his name in the paper and his face on television.
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I said to myself, we must die. Sooner or later, we must disappear forever from the face of the earth. Whatever be the links that hold us to life, they must be broken. This scene of existence is, in all its parts, calamitous.
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After The Beatles came on the scene everyone started putting on a Liverpudlian accent.
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To the mind which looks not to general results in the economy of Nature, the earth may seem to present a scene of perpetual warfare, and incessant carnage: but the more enlarged view, while it regards individuals in their conjoint relations to the general benefit of their own species, and that of other species with which they are associated in the great family of Nature, resolves each apparent case of individual evil, into an example of subserviency to universal good.
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I don't want to make decisions about what I'm going to do before I'm doing it because I base my acting off my partner and off the other people in the scene.
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I've learned a lot about stage-managing for illustration. Sometimes you have to delete characters from a scene just to keep from overcrowding the image. I've also learned to making big-scale design decisions early.
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In your actor's heart, you know when you're playing well. Others may not always agree with you, but I'm always aware of when the scene is cooking or not. You have an instinct about that from years of doing scenes and plays, and I think it stands you in good stead even in the TV world.
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Death scenes are hard. Sex scenes are hard.
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Every musical scene has a cycle.
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There are times when I want to be plainspoken about my feelings in a song. But there are other times when it's really good to try and get my head around different kinds of song structures, or maybe I might get turned on by trying to write a song that would fit in this one scene in a movie. And by the end of all this, you just end up with a bunch of different ideas. And songs are really just ideas.
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What do we look for as reward? Some little sounds, and scents, and scenes A small hand darting strawberry-ward A woman's aprons full of greens. The sense that we have brought to birth Out of the cold and heavy soil, The blessed fruits and flowers of earth Is large reward for our toil.
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Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn't work with the overall narrative drive of the story.
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It's funny that some ideas start with a little "What if?" and then suddenly you're spending a million dollars to shoot the scene and hoping that it works.
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I have a nationally distributed film whose pivotal scene is the ultrasound-guided abortion.
