I've always been ahead of the curve when it came to trying new stuff in the underground scene.
Bore children, and they stop reading. There's no room for self-indulgence or showing off or setting the scene.
I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.
I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.
I kind of found a niche for myself after 'Firefly'. I found something that I enjoyed doing and that I did well, but as far as how I seek out a part, it's always different. It's always something that lights you on fire when you read it. It might be just one scene, it might be one line that defines the character for you.
I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.
When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.
I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.
I was nervous. I was thinking, 'Gee, he's Ralph Fiennes. What an amazing actor, and I can have this scene with him.' But I enjoyed it, you know. That's what I got into acting to do - to push myself and see if I can do these things.
We don't believe start-ups are the private preserve of only garage start-ups... The corporate garage is going to be the scene of a lot of action.
I'm from the suburbs, really, so I actually didn't go to Montreal until I was, like, 19. I wasn't allowed to go to the city at night or really be in the scene with other producers. It was hard for my parents to understand what I was trying to do as an artist, but it didn't stop me. They eventually saw that it wasn't a joke.
I was never really a bone fide member of the folk scene.
Our pop scene is among the best in the world because there are 300 languages spoken on the streets of London, compared with 200 in New York. Our diversity is our strength.
And it's a question of how far we're willing to go in order to let the ego shine, in order to let that beacon penetrate not only the local scene but the world.
Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.
The Heads were the only band on that scene that had a groove.
Because I actually find the next take after they've controlled it a little bit and repressed the laughter is actually a really interesting take, because that's still going on underneath the surface. That struggle to maintain composure becomes part of the joy of the scene.
I take the fact that films cost a lot of money very seriously, but once in a while to have somebody say, This is a big scene, take your time with it, is important. That's John Sayles.
I'm a great believer in the novelist being 'on the scene,' reporting, traveling, meeting all sorts of people.
I love to be nervous before a scene.
I was nervous and hesitant about putting myself out there for the pie scene. But I went for it and the results were wonderful.
Here in Ohio, the hardcore scene is a big thing, so some of our good friends are in hardcore bands. So we've had to figure out how the heck we get these people to respect us.
I can't go into a mob scene and sense the mood and the attitude of the crowd. I can't conduct man-on-the-street interviews or even get reactions that I can be sure are honest, because they know who I am.
Almost every scene, I re-think as I'm about to start drawing it, and at least half of the time I'm changing dialogue or whatever, or adding scenes or different things.
I don't get the jitters and I don't get nervous, because I build that comfort on set for myself. Sometimes if I'm gonna do something really crazy, it helps me to yell or look like an idiot on set, so that when I'm about to do a scene, I've already embarrassed myself. I find ways to work around getting the jitters.
I always consider the settlement of America with reverence and wonder, as the opening of a grand scene and design in providence, for the illumination of the ignorant and the emancipation of the slavish part of mankind all over the earth.
We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
In Jamaica, them always have throwback riddims, recycled old beats, and the hardcore reggae scene is always present. You have faster stuff like the more commercialized stuff, but you always have that segment of music that is always from the core, from the original root of it.
I think part of that is to create an environment where it's like real life, where you don't really know what's going to happen to you in a certain scene.
It's a first for me. It's my first nude scene.
I'm not really into gothic music, it's not really my type of scene but each to their own. I listen to pretty much anything.
Scene study is isolated. I suppose it's interesting, but I don't think it really teaches you about a throughline. A throughline is something you feel when you do one scene followed by another followed by another.
On a film you can really get away with learning the scene the night before and that's often just not possible with TV, so you have to be a little bit more prepared a little bit more in advance.
You can't steal every scene. There are scenes in which you need to sit back and do a lot less, verbally, physically.
It should consist of short, sharply focused sentences, each of which is a whole scene in itself.
