Show business is a struggle. I certainly wish that I had just blasted on the scene and not had quite such a hard time. But there's a great sense of the relief in that you don't have to prove yourself anymore.
It's always easy, I think, to raise the importance of a scene through the addition of music. But it's very awkward to end it unless there's a door slam or a gunshot or something that just takes you right out of it.
Anyone in the Tooth & Nail or Drive-Thru scene was my thing.
I like going into a scene knowing that the script isn't quite finished, that there's something that isn't really going to reveal itself until something spontaneously occurs.
I really, really like Nicole Richie, and the only reason why I always bring her up is because I'm impressed with her style evolution. This is someone that came onto the scene that people didn't necessarily view as a style icon, and she completely switched up the game. And I like how she takes risks with fashion.
I think D.C. has always been very, very vibrant for food. Like Boston in a way. Boston and D.C. were really the two cities that were the most active with their local chefs and their local food scene.
When I'm on an adult set and I'm in a scene, I am myself. I'm not acting. I am playing to the camera, definitely, but I am myself.
In the wake of the San Francisco scene, ears were alive. It was a listening generation.
I don't know which other actor has done as many hot scenes as I have. I pretty much have the monopoly in the bed scene market in Bollywood.
I'm one of those guys that spins through the clicker when I'm watching TV. When one of my movies comes on, I'll watch a scene or two.
Make no mistake about it. These are not 'kookie' birds. Right now the greatest player, the big tent on the political scene in America, is called the Tea Party movement.
I don't really feel part of the pop scene.
A comedy scene can't really have two weirdoes in it. It doesn't make any sense that way, so you need someone to ground it and call out what's unusual about this person and this scene. Early on, I got pretty good at doing that, and I felt pretty comfortable doing that.
'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.
I love to work. I know that sounds ridiculous to say because all people love to work, but I love the homework that goes into acting. I love figuring out different ways of playing a scene. I love the energy of being on set. I love not getting enough sleep because I have to wake up early in the morning.
For me, I always think of the image of sweeping out my footprints as I walk through a scene.
When President Teddy Roosevelt posed for the cameras astride a massive steam shovel during construction of the Panama Canal in 1906, it was more than a simple photo op. Though the scene was clearly staged, it symbolized a crucial moment in American history.
The Egyptian military plays positive and negative roles in Egypt, but the most significant single thing it did under Mubarak was to guarantee an Islamist victory once he left the scene.
The last thing you want to do when you are about to film a scene is think, 'Oh my God, so many people are going to watch this.'
The publishing scene in India is evolving rapidly, and the key challenge is to keep reinventing oneself so that one does not become formulaic. Sometimes it is safer to deal with the consequences of failure than the fruits of success. Remaining on one's toes is critical, and often one finds that success makes one complacent.
With songs I almost see the images, see the action, and then all I have to do is describe it. It's almost like watching a scene from a film, and that's what I go about trying to catch in a song.
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 Chicago, actors start up companies and get together and produce things, and there's a really rich, vibrant non-Equity theater scene out there.
I can't stand the club scene.
The whole punk scene is, of course, responsible for the Go-Go's ever getting created. Because before punk rock happened, you couldn't start a band if you didn't know how to play an instrument. But when punk happened it was like, 'Oh, it doesn't matter if you can play or not. Go ahead, make a band.' And that's exactly what the Go-Go's did.
When I'm on a set, and I'm in between a scene or on a plane waiting, I read Twitter and I love it.
A director must push his actors to the utmost limit to get everything possible out of each scene - without being corny or sentimental or going overboard.
My first band was an Argentinian folk group when I was 10. When I was 12 I had my electric guitar, and by the time I was 13, the Beatles came into the scene, and that was over. So I have a mixture of all these traditions, and I think that's who I am, a mixture of everything.
I wouldn't be posting videos of me in drag or doing a remake of Zoolander's orange mocha frappuccino scene if I didn't still like attention.
Any project that you shoot, it's never going to be completely finished the way that... I don't think I've ever worked on anything where every scene has been kept in the order that it was originally in, or that it hasn't been cut down in some way.
I'm such a private person, and sexuality is such a private thing. A sex scene is much harder than a fight scene. It's one thing to say, 'Kick higher,' but 'Kiss harder' - that's just crazy.
Grenfell, the building set on fire with the help of its own face, is a scene of a complex injustice: one that is moral, economic, political, and aesthetic. Not only was the cladding unsafe, it was ugly; not only was it ugly, it was untrue both to the architecture of the building it covered and untrue to its responsibility to human safety.
If you film a scene in a wide shot, especially a disturbing, distressing moment, I do feel like that helps you feel as though you're the room with these people, instead of cutting it up and getting close - which you wouldn't be doing if you were actually in a room with these people.
I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.
The two sensibilities, the visual and the verbal, have always been linked for me - in fact, while reading a particularly evocative passage, I will imagine what the photograph I'd take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.
I always felt that, when I saw Denzel or Viola do scenes in their past films or past projects, that if it's a heavy scene, and it's requiring a lot of emotional weight, that we would have nothing but silence and incense burning in between takes just to keep things quiet.
