I very much prefer the balance in a scene to standing out and so you have to make a decision.
What comes to me always is a character, a scene, a moment. That's going to be the beginning. Then, as I write, I begin to perceive an ending. I begin to see a destination, although sometimes that changes. And then, of course, there's the whole middle section looming.
St. Louis has a great startup scene and a vibrant business community.
I am fascinated by crime scene investigating. I swear, I wish I was a crime scene investigator sometimes!
The only dangerous scene is when James Cromwell put a stake in my chest. But other than that, it turned out to be quite a punch. I didn't think much of it.
You always have to have a bit of fun if somebody is dead in a scene. That's a red rag to a bull for an actor. You do a little poking. You do things to annoy the actor. It's your job. You have to utilize the opportunity. You have to get through the day.
I'm working on a snow scene right now, and it's summer. It's hot, and I will get chilly. I'll have to turn on the heat. My wife walks in, and it's 95 degrees in the studio. I know it's nutty, but it's a projection you have where you step into the painting.
But it's very difficult, I can tell you I played the Czech Open a few times and it's very difficult just to go on to a scene where the course is prepared differently when the greens are fast and he's not used to it and they're hard as a rock and he's not used to it.
I don't get very involved in the L.A. scene. When you do get invited out, you are expected to be on all the time. It's just wearying.
I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He's the most incredible scene partner I've ever had.
The best scene is the last great scene I did.
Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.
Then I did one fight scene, and they said it looked good. Because I did it well enough, they've given me more.
Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
I've worked hard and accomplished what I've accomplished in the heavyweight scene.
I think I must have too much to eat, we were doing a scene where we were crawling, and I ripped my trousers. I was very embarrassed. I was sown in, stitched in, quickly!
One day, we were doing a serious scene and fast talking like we do and we could not stop laughing and the director had to stop the production. We had to go to our trailer and calm down and do it all again.
And in the middle of one of those scenes, I suddenly felt my heart just open: it was overwhelming, to the point where I got teary-eyed. Never would I have thought anything like that could happen in a love scene.
I love TV. I know all the theme songs from the shows I watch. I'm not one of those who'd rather be a movie star. I prefer TV because of the rushed way of working-on a movie set, you sit around and wait and wait to do a scene because they're adjusting the lights.
Sometimes, my books start with a scene I see in my mind, such as a woman in a wedding dress running away from her wedding like in 'Embers of Love.' Sometimes, a book can start with a character.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
That's always something that's really important for an actor - to find an opportunity to do a scene where there is a moment like that, where you manage to connect with everyone.
I've been shocked by film actors - 25 and under - having such confidence and cockiness to rewrite a scene. My background is more about the director being in control. It's all about yielding. It's an oddly submissive relationship in which you're moulded, Pygmalion-style.
You rarely find someone who sings really well and who produces really well; it's a problem, and I just think it's a missing link in the music scene.
I've gotten very good at scheduling my life, scheduling the scene and preparing myself for knowing, saving the energy, consuming the energy, knowing when to go for it and having the available reserves to be able to do that. You have to think about that, because it's endurance.
I do get very involved in making a scene work without giving too much thought about how it affects the overall, which I think is hard to know in any case.
The British scene in boxing, not just the heavyweight division, is popping.
Ecstasy is not really part of the scene we can do on celluloid.
Yes, and there were changes of light on landscapes and changes of direction of the wind and the force of the wind and weather. That whole scene is too important in Homer to neglect.
I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.
Every time you do a take on a movie, you're not sure if it's going to succeed. Even if you have a great cast, like we had, every scene you're kind of waiting for the release. 'Oh, yes; it happened. We got it!' There's always the possibility that it's just not going to work.
Fort Smith, being the place of my longest stay, was the scene of my largest medical practice.
That's a rule in the business. No tongue. You can't really get into it, otherwise, it's weird. I think that particular scene made his (Adam Brody) girlfriend jealous. There were issues.
There was a scene cut out of 'Big Fat Liar' (2002) where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.
When you conceive the scene, you go, 'That is scary, right?' When you shoot it, a lot of times you're not quite sure. Hopefully what you can shoot is what your conception is.
I remember so vividly playing a scene with Jimmy Stewart. I was in the back of a covered wagon, and we were doing this little talk in the wilderness. They did his close-up first. I was looking at him and thinking, 'How does he do that?' He is not 'doing' anything, and yet everything is there.
