I thought I would write non-fiction. I thought I would enter the New York literary scene as copy editor, work my way up, and then write my own books.
I am really proud to be a part in whatever way of women becoming active in the political scene. I think it was the first time that people came to terms with the reality of what it meant to have a Senate made up of 98 men and two women.
Oftentimes, the only evidence left behind at the scene of a shooting are bullet shell casings.
I run a fast pace on my sets, man. I like the energy of the scene to be the energy on the set. I think it affects the actors, and I think it affects the crew. There's that sensation like you're really shooting it for real, like in a documentary.
It's pretty easy in theatre. The comedy's either physical or verbal, and you're looking at the whole frame at once. But TV executives want close-ups. I keep telling them to look at Preston Sturges' movies. He'll do a whole scene without a cut in it, and it's a riot.
I always think about stuff I learned, in any scene. Juilliard taught me a lot.
Actors will, in their mind, want to 'steal the scene,' and the problem is that means the scene didn't work in the first place.
If you look at the play very closely, this is a thirdhand report of what a wonderful hero Macbeth is for saving Scotland. And in the next scene, he's planning to murder Duncan, and you never really know why or what's behind Macbeth.
Somebody told me I should put a pebble in my mouth to cure my stuttering. Well, I tried it, and during a scene I swallowed the pebble. That was the end of that.
I was so grateful to have made 'Into the Wild' before I made 'Speed Racer' because on 'Speed Racer' I was indoors every single day, every single scene, on a green screen. Some of the time, just to pass the time, I would think back to climbing mountains in Alaska. That really helped me.
I was one of the actors in 'Braveheart,' and that had a huge impact on the political scene in Scotland. One of the results of that, in 2014 there's going to be a referendum in Scotland as to whether Scotland is going to be independent. A great deal of that was brought to the nation as a result of 'Braveheart.'
When Scorsese shoots a violent scene, it's very uncomfortable - it's not like watching 'Rambo.'
The idea of a Frankenstein-like creature is something I've done several times. It's such an icon of the horror scene.
I was only 14 when I started playing the east London rave scene. At the time, I was so captivated by everything. I didn't ever wanna progress out of that scene.
25, 30 years ago, that meant something, they were making some money. And they were doing all sorts of comedy, screaming at the audience, basically crowd control. And then there was the whole urban comedy scene.
Whether I'm acting or making it, at the end of the day it's telling the story; action, drama. You want the audience to feel it - the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.
There's a special gut-check moment the first time you write a scene in which somebody casts a spell.
I think if there was no violence in our world, there would be no violence in film. Violence is a part of human nature, and obviously it's a troublesome part of human nature. You always have responsibilities when you portray violence in what angle you put down on that scene.
We continue to be exasperated by the view, apparently gaining momentum in certain circles, that armed robbery is okay as long as nobody gets hurt! The proper solution to armed robbery is a dead robber, on the scene.
The practice of pumping up before the scene, especially if you've got your shirt off, most actors will do that.
I work a lot; I love to compose, ponder, and take notes when preparing for a role. I cut all the scenes, collate the images, form the character and shape its personality, then I make meticulous notes and transcribe each scene on my notebook.
It's very unusual on 'Game of Thrones' for there to be a deleted scene because the scripts are pretty locked in. There's rarely a reason to say, 'Hey, we don't need this scene.'
In my own career, I have always tried to treat my colleagues with respect and kindness, whoever they are, and am proud to have developed and mentored the careers of many excellent young scientists who will be tackling tomorrow's biological problems long after I have left the scene.
There are a lot of big action movies that we've worked on where the attitude has been, 'Let's just get through this scene.' Then you get those jumpy, what-were-they-thinking action sequences.
The alternative comedy scene is actually pretty small, I guess.
In my last scene in 'Breaking Dawn,' Bella has just died and I run outside and crumple to the ground and just lose it. I'm bawling. That was my last scene of 'Twilight' ever and I definitely had some extra motivation.
If a character dies, you get to do a big, juicy death scene. But the flip side is you're out of the sequel, which is where the real money is.
There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.
If you cannot reconcile the difference between the elite that stay behind the scene and the right of the people, that's going to be forever chaos. It's time to compromise, to allow more democracy. Those who are stay behind the scenes must hand off and observe the law.
On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.
A filmmaker doesn't have to suffer to show suffering. You just have to understand it. You don't have to die to shoot a death scene.
Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.
I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.
We've been lucky. Even as a young, local-level band, we were able to rise out of the local scene without having any debt, without having signed the wrong deal with the wrong manager or the wrong booker or a small label.
As a young queer kid growing up, I explored my identity through the Chicago and Washington, D.C., club scene.
If you had told me when I was starting out that I would be coming down to Nashville, kind of weaving in and out of the country scene, I never would've thought that in a million years.
