Quotes of All Topics . Occasions . Authors
It's hard when you see a scene where it's raining, and we have the rain machine, and you see it for 5 minutes, but that scene takes all day to shoot, and you do it with rain, and the dry off, and go back and do it again.
He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.
'La Lupe' is my passion project. I've done it as a one-woman show, but I'm raising money to turn it into a film. It's a story of a Cuban singer who became the Queen of Latin Soul, the first woman on the N.Y. salsa scene.
When I first got involved in the underground metal scene in '82, '83, there were only about five or six major Death or Black Metal bands around. There were so many other bands that were inspirational, that really helped.
Yeah, it's funny, working on a show with as large a cast as we have here, your work gets sort of compartmentalized. There's still about half the cast that I've never had a scene with but I have missed working with Terry.
I had written in another draft a completely different kind of fight, but they said they couldn't afford to shoot it. They needed a fight scene, though, so I was told to put a fight scene in, but not the one I had written.
Our young people are out on the streets looking for parties, a place to dance, looking for a scene. No institutions are providing them with alternatives, fun things to do that don't necessarily have alcohol at the center.
Look at Daft Punk and Kanye West. The song 'Stronger' was inspired by a Daft tune. Once the hip-hop scene opens up to all the great music that came out of dance, it will continue to spread to the more mainstream audience.
In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.
There was one very special scene at the end of the film. My character, Zhao Di, has been sick. She wakes up and her mother tells her that the man she loves has come back from the city and had spent the day by her bedside.
I haven't had to do too many, or many explicit ones. Everybody feels weird, and everybody is trying to tiptoe around and make you think they're not there. The last time I did a love scene, I couldn't keep a straight face.
I certainly wasn't a fan of Thatcher's politics. People liked to label us as children of Thatcher. What nonsense. The real children of Thatcher came in the 1990s, and had no interest in politics. The Oasis, Britpop scene.
I really dig the scene that's happening now, I really do, because there might be a lot of bad things going on, but if out of all of those bad things ten per cent of the groovy part of it stays, wow... you can't beat that.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
I don't like when you necessarily know that this is the end of the movie. I like when a movie ends abruptly. You go through this, and some of the scenes are uncomfortable, and some are funny - and then suddenly it's over.
It's like a piece of music; you never lose sight of the theme. Each scene pushes off to the next like music builds and you can almost hear the next chord progression, so it has a strict structure, which is very compelling.
I have two concerns with my work: having good things to act, and getting paid. In that order. Although if you're not getting paid well, that order can change. But that's what I'm concerned about. Good scenes. Decent money.
Only the change on the international scene, the crisis in the gulf, and the strong, firm position of the United States against aggression between two Arab countries created realities that led to the Madrid Peace Conference.
I'm probably most proud of the plays that I've written just because as the playwright, you know, you're God. You get to do everything. You don't make any money hardly at all, but you really get to kind of control the scene.
So nonetheless given the importance that was placed on sport in Australia, I wanted to be part of that scene, particularly since I had felt very strongly in my early schooling being marginalised even in the Catholic school.
Talk about high school and what we identify with in the play; things that have happened to us and all of our high school experiences that we could bring to this. And to talk about what everyone knows in each specific scene.
Sometimes a scene may be about one thing, and it may end up still being about that, but the emotionality of it comes from somewhere else, or the humor of it comes from somewhere else, and it gives it that real-life quality.
I actually find it harder to act in the scenes where there's not much happening, say having a milkshake in the diner. That is far harder to do than straight scenes where there's a drama going on and you have something to do
Sydney's beautiful, the weather's great, and the air's fresh and clean, but it doesn't have the scene and the amount of likeminded people. At home, things are very comfortable, but I feel like putting myself out there a bit.
There's a lot of reasons I had to move on. Family's definitely a big part of it. And the longevity of my career - I played for 15 years, and I was just tired of the whole international scene. It's quite busy. Very stressful.
I remember in 'Pride and Prejudice' I had to do a scene where I broke down. And before we filmed I spent like three hours imagining my mum's funeral. Actually, she's very much alive, happy and healthy. It was really horrible.
However, if we examine the Canadian scene closely enough, we can see signs of this physical and spiritual rot settling into a number of our Canadian urban centres with a troubling spill-over into many of our more rural areas.
That scene in 'The Purge' where my kids, Mary's kids, are in danger was really crazy for me, because I suddenly... I have my methods as an actor, so I went to the place of 'If somebody came near my children, with bad intent?'
If somebody came up with a really good idea, everyone would back it. Especially when we did the show, we had a real dedication that, if you were in somebody else's scene, everyone worked their hardest to make that scene good.
To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse - we've got these two actors, we want to see them naked, so let's bring in the music and the soft light.
I feel like Drake saw that I was up-and-coming in the gaming scene, and he thought it would be a perfect way to just tap into another source of viewers by playing with me. He also might have just wanted to game. I'm not sure.
I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say - but the scene itself, the character that you are talking to.
I did love that scene in the movie [ "Our Brand Is Crisis"] because it's like "The Wizard of Oz." You see the backstage action of politics. You have access to see behind the curtain. You see how it's all one big advertisement.
My reputation was built on hostility. I had no friends and some very virulent enemies in the old-guard art scene when I began. They threw their heavy artillery against me. They were convinced I was perverting the public taste.
I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.
It took me a long time to film the plastic bag, and then I had to get the cut of the scene right. But if you find it as beautiful as the character does, then suddenly it becomes a different movie, and so did he as a character.
There's a word the teabaggers have wanted to use since Obama came on the scene, but they can't because it's not the 1950s. They would love to say this word. It begins with an N and ends with -er, and it's not "nation-builder."
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
The best moments can't be preconceived. I've spent a lot of time in editing rooms, and a scene can be technically perfect, with perfect delivery and facial expression and timing, and you remember all your lines, and it is dead.
Concepts, like individuals, have their histories and are just as incapable of withstanding the ravages of time as are individuals. But in and through all this they retain a kind of homesickness for the scenes of their childhood.
You can't give up something you really believe in for financial reasons. If you die by the roadside - so be it. But at least you know you've tried. Ten minutes in the music scene was the equal of one hundred years outside of it.
I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.
The last scene in 'Moonlight,' that's one of the most extraordinary things I've ever seen on film in my lifetime. You see two men showing such tenderness towards each other. And it's bold; it's deep. It's complex. It's profound.
When I saw the scene in 'Close Encounters,' and Richard Dreyfuss's son is screaming at him - that's a heartbreaking scene. And I remember being devastated by 'E.T.' Or when E.T. started to get sick. That broke me up a little bit.
I have this absurd syndrome where I get these out-of-the-blue, pathetic panic attacks. It'll be in a very easy, simple scene when everything is going swimmingly, and then suddenly, bang, I'm shvitzing and can't remember my lines.
In a sense, I revolutionized the operatic scene because I proved you can make a great international career without the Metropolitan. I'm the only singer who's done that, and I'm proud of that, so it's all worked out for the best.
The best preparation for acting is life - observing life and people and observing yourself. All that becomes your library. So when you have to research a part, a scene or an emotion, you go into the library and get what you need.
What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.
I direct as an actor. Many times, I will say, 'Let me try this.' And I'll walk the scene through and see what I can tell the actor about it. I don't know what to tell him until I've actually tried it and seen what the problem is.
Looking through the camera lens reduces noise; as humans we see a million shapes, colours and textures. What the lens does, what art does in general, is get rid of all the noise. It hones in and isolates the qualities of a scene.