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.
The Informe should no longer be the scene used to insult, beat, and criticize on the basis of preconfigured conceptions.
Working with Kano is cool, too: obviously, he's from the same scene, but we've never worked together on a track before, and where, like, better to do it than on a Gorillaz project?
I think it's so dope that I'm here in Chicago and contributing to the music scene that's thriving. People are so happy Chicago's shining that everyone is willing to say 'I represent Chicago.' That wasn't always the case.
I walk into a scene, and I do the scene. That's my job. I don't have an objective. I have the words, and I have whoever I'm playing with.
When I'm singing a song, I'm in that song, and I'm thinking about what emotions I should bring to the song. Voicing a character was very similar. It was high energy, and I had to really think about the emotion of what was going on in the scene.
I was born with music inside me. Music was one of my parts. Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me - like food or water.
Seattle very much benefited from this geography where it was a town nobody had really heard of in terms of a music scene. So we had that factor of being a new discovery.
I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.
When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'
I think it's almost easier to do a kissing scene with someone you don't know.
It's never really fun to have to cry in a scene or anything like that.
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
Once I got over my initial butterflies, being in the same room and doing a scene with Jimmy Caan was great. I never backed down for one second against him. I loved it. I love those moments. Working with people like that is the greatest joy you can get as an actor.
The only way to make a scene realistic is to do it the way you know it would really happen.
I'm not into the whole showbiz scene.
Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene, because you need to keep that electricity maintained throughout the course of the film.
I thought I was okay in my first film, and then I was really, really bad in some films. I really cringe when I see some of my scenes. There's a scene in one film where a dog is biting me; the expressions I have made should be qualified as the most over-acted scene in the history of the cinema. The dog's expressions were more real than mine.
Personally, I need to learn every word on the page before I go in and audition. I have not mastered the skill of holding pages in my hand and acting with pages in my hand. I find that every time I have to look at the page it takes me completely out of the scene.
Barry Levinson saw me on a tape and put me in 'Rain Man' as the waitress who dropped the toothpicks. The scene was talked about a lot. Then, all of a sudden, I started to get more auditions.
Any city that's worth a dang certainly has a musical heartbeat, a culture, and a scene that can stand on its own.
Darren Aronofsky is on another level. You get lost in a scene, and he'll come over and whisper something in your ear, and suddenly everything makes sense.
When I got to New York City when I was 18, I started playing in clubs in Brooklyn - I have good friends and devoted fans on the underground scene, but we were playing for each other at that point - and that was it.
It's hard to get lost in a scene, to get into a character when everyone's standing around you on the set.
I was always intrigued with European cinema, and hated most American cinema. I didn't like the one, two, three - boom! style, with a neat and tidy ending. That was never my scene.
Performing on stage is my first love - it's why I wanted to be an actor in the first place - and 'Arcadia' is the highlight of my career so far. I love the intimacy of a live theatre audience - you can really squeeze every last drop out of each scene.
Sometimes, cameras can't capture a scene like your brain does. But the use of apps can help get it just a little closer to reality.
In the early '90s, all the girl groups were dressing super feminine. And then we came on the scene wearing Cross Colours, Girbaud, and Nautica.
I went to see Ocean Colour Scene at Shepherds Bush and and felt part of something. They paved the way for me.
If you're writing a scene for a character with whom you disagree in every way, you still need to show how that character is absolutely justified in his or her own mind, or the scene will come across as being about the author's views rather than about the character's.
Comedy is similar to hockey... in only one way. You get a lot of credit for assists. So I try to serve whatever the intention is, be it the joke or the story or the scene or the moment or the kiss, even if it's not my joke or moment.
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.
Once we are fed, heated, housed and healthy, our extra consumption inevitably has an element of luxury about it. And once luxury enters the scene, the practicalities are in trouble, as women who wear expensive stiletto heels can testify.
Some films, you're lucky enough to get some rehearsal, which is just basic going through the scene, and, 'These are my questions, and this is what I'm trying to achieve,' and you work things out, and maybe a few line changes here or there.
I know that there's a cultural expectation that women be nurturing, delicate flowers. And I am. So delicate. But that doesn't mean I can't write a good, gory murder scene.
The alliance in Jammu and Kashmir is one of the most important developments on the contemporary political scene.
