Quotes of All Topics . Occasions . Authors
As the scene of life would be more the cold emptiness of space than the warm, dense atmosphere of planets, the advantage of containing no organic material at all, so as to be independent of both these conditions, would be increasingly felt.
The Florida in my novels is not as seedy as the real Florida. It's hard to stay ahead of the curve. Every time I write a scene that I think is the sickest thing I have ever dreamed up, it is surpassed by something that happens in real life.
You go to the edit room and see one scene which has come out fantastically, and you feel the film will set records. By evening, you look at the budget figures or something that hasn't worked out and ask yourself - what if this doesn't work?
The Clintons are obsessed with money, and they have been since they came on the national scene. I'm sure that both of them since childhood have been obsessed with money. And I mean it. I mean obsessed with not having it when they were young.
If you give me a typewriter and I'm having a good day, I can write a scene that will astonish its readers. That will perhaps make them laugh, perhaps make them cry - that will have some emotional clout to it. It doesn't cost much to do that.
Dave Van Ronk, for those who don't know him - probably most don't know - was a folk singer. He's kind of the biggest person on the scene in 1961 in the folk revival in Greenwich Village, biggest person on the scene until Bob Dylan showed up.
I learned a valuable lesson doing 'Mr. Sunshine,' which is that I didn't want to be in charge because it's too much. Being in charge and acting in every scene was just too difficult. It's like eating dinner in a moving golf cart every night.
When I came out, I found I hadn't been born with the right genes. It's quite brutal. If you're beautiful and you have the right genes, then the gay scene is a place where you can be worshipped. But if you don't, it's a different ball of wax.
I was in a play directed by my father, and I was doing a fight scene, and the choreography went haywire, and I flew backward over a chair and ripped my thumb all the way to my wrist and had to have surgery to sew up all the tendons in there.
I was trained classically in violin and voice, which led to musical theater. Then I left the music scene to chase acting, which is when 'Neighbours' came along. It was a fantastic playground for actors, and the cast around me taught me a lot.
No, the people standing before Christ and Pilate during the judgment scene do not condemn an entire race for the death of Christ anymore than the actions of Mussolini condemn all Italians, or the heinous crimes of Stalin condemn all Russians.
So, we just kind of created our own thing and that's part of the beauty of Athens: is that it's so off the map and there's no way you could ever be the East Village or an L.A. scene or a San Francisco scene, that it just became its own thing.
Working with Steven Spielberg, how bad could it be? But "1941" was one of those excessively big movies where every action scene was done and re-done and re-done again. It was so overproduced and overly expensive. And it wasn't terribly funny.
When you go to your local police officer, your police chief in the town you live in, big or small, he will tell you the vast majority of the weapons recovered at a crime scene are either stolen weapons, and/or they have been 'lost' or stolen.
The pageant movie I'm obsessed with is 'Miss Congeniality', hands down! I could quote everything from that movie. I love so many scenes, but I always find myself quoting the scene when Sandra Bullock goes, 'I really do just want world peace!'
You're over there in the corner either thinking about the dead dog or whatever, you're bringing up your personal life and you need the space, and then somebody throws you a joke. Especially if it's an emotional scene, you don't want the joke.
With fantasy and sci-fi, it's based in a real fandom. You're presenting to experts, and their source material is really important to them. They'll come up and ask: 'so when you turned your head slightly in that scene, what were you thinking?'
Most of the time, I get auditions for deaf characters where the scene has them communicating in really convoluted ways, like reading lips from across the room when the other person's back is turned or having other people parrot what they say.
Of course, right away I got more interested in the far-out jazz than the traditional jazz, so I quickly was turned onto the John Zorn scene and all the wild stuff coming out of New York and Europe. Improvising is a pretty natural thing for me.
In Birmingham, Manchester or Liverpool there are white gangs that share the same backgrounds - they come from broken homes, completely dysfunctional, mums for the most part unable to cope, the fathers of these kids completely not in the scene.
Sometimes I'll go by and there are a couple of swans, the next day it's a few ducks. I'd like to stop there every day for a year and capture how it changes, then put it all together to create an incredible image of a traditional English scene.
I'm not worried about the kernel itself or the basic system. All the commercialization is about the distributions and the applications. As such, it only brings value-added things to Linux, and it doesn't take anything away from the Linux scene.
I never take credit for my movie's success. I am the face of the movie, but there are numerous unsung heroes behind the scene. From the director, cameraman and editor to the light boy, everyone knows how difficult it is to satisfy the audience.
In bed at night, I could be reading some book, and I'll come across a sentence that's totally unrelated to some scene I did years ago. But I'll play the scene back in my mind and think, I did that wrong - I should've opened the door more slowly.
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.
I never do a full outline, and if I did, I would not feel bound to it, because the view from inside a scene can be different from the view outside it. But neither do I just start writing and see what happens; I am far more disciplined than that.
There's scenes where I really want to get things right, and all the kids know me as the person who says, 'Sorry.' I think I've gotten a lot better with that, but it's still the thing that I'm still worried about, trying to get the scene perfect.
If I do a scene with an actor who doesn't have much experience, I say, 'I tell you what we're going to do: You just listen to me, and then you respond. We don't have to do any acting.' And that's good advice because you shouldn't see the acting.
When I was a younger actor, I would try to keep it serious all day. But I have found, later on, that the lighter I am about things when I'm going to do a big scene that's dramatic and takes a lot out of you, the better off I am when I come to it.
I often will write a scene from three different points of view to find out which has the most tension and which way I'm able to conceal the information I'm trying to conceal. And that is, at the end of the day, what writing suspense is all about.
You can still have chemistry on screen without getting on with the person. But it just makes your job a lot easier if you don't have to gird your loins, if that's not quite the right phrase, every time you're going to do a scene with that person.
I like the rhythm of comedy in dramas, if that makes sense. In other words, I don't want to write setup, punch, setup, punch, where the joke dictates the scene; I want to find comedy in which the drama is actually driving the moment in the scene.
Mainstream media has convinced people that black people aren't relatable. So when a Jewish person comes up to me and is all, 'Oh man, I love that one scene from Episode 3, I watch it over and over again,' I'm so happy. Because that's what I want.
Off-track, I do a lot of physical training, I work out a lot. My dad grew up in the motocross scene, where it's intense and everyone's in really good shape. That's the lifestyle that I grew up around, so I might work out more than other racers do.
When I got into the Nashville scene, with the Ross Coppermans and Zach Kales and Jon Nites and Nicolle Galyons, all these people who have No. 1 hits with huge celebrities, they were able to show me creative ways and right ways of formulating songs.
I work very hard on motivating everything I do as an actor. Explosive moments have to be completely motivated; whether they're explosive comedy or explosive horror, they have to come organically out of a scene and an interaction with another actor.
When I watch a movie for the first few times I'm usually thinking about where I was in a given scene, who was next to me, what we were doing etc. But after I've gotten through all of this, when I'm really watching the film itself, then I get moved.
Mostly, when you are shooting for action or intimate scenes, and you need to hold them, it takes away the mood if you both are not in sync. I have faced such situations and I think having a good bond with your co-stars only adds value to the scene.
Honestly, as an actor, all I need to know, the way I kind of look at a scene, is like a puzzle. There are certain puzzle pieces that are bigger than others, and all I need to know is if this is going to fit here to make this part of the puzzle work.
If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.
The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.
I don't do match cuts really. That's a ridiculous thing to say - I do. But we always explore how we can propel a scene, and that's including dialogue, without doing match cuts. Because the audience is really willing to accept a lot of discontinuity.
When it's the funeral scene of 'My Girl,' and Thomas is in the casket, and the young lady is screaming that he can't see without his glasses, you can absolutely, absolutely cry. Perfectly big, crazy tears all over your shirt, into the arms of others.
It doesn't matter what you feel - ultimately, it's what the audience feels. You can finish a scene and think to yourself, 'Oh, God. I was so deep in that moment,' and find it just didn't play. I don't know if I have very good radar about that or not.
That is what has happened to the United States in the international economic scene. We have deteriorated into a debtor status so that we are now dependent upon the kindness of strangers. That is not where the world's leading power should find itself.
You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'
I was a girly-girl until I moved to New York. Then I got really into the androgynous look of the early-'90s club scene. I had really short hair and started blurring the line a bit. But for me, grade school was about Benetton, Esprit, and Guess jeans.
We're real people and we're a band that's been playing on the scene for a long time. We've made a lot of friends, and one enemy we've always had was the NME. They've always basically slated us and they've basically never ever written about the music.
Just about any story we think about doing, whether we've read it in a newspaper, heard it on the radio or come upon it through word of mouth - by the time you get there, every other network, cable station and talk show is already racing to the scene.
'The Names' is planned as a nine-part series. I have a kind of road map: I know the final scene of episode nine. But as to exactly how we get there, what detours or horrible accidents we might have to pass through, I like to keep that a little fluid.