No, we didn't shoot... in the ones that I did there were hardly any sex... there were suggestions of sex scenes but we never actually shot a sex scene as such.
The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.
Moving to San Francisco affected me in a pretty profound way, in a lot of respects. I think it helped me evolve my sound and think outside of the space I'd been in in Sacramento. The scene there is so insular and kind of feeds on itself: you just end up playing the same shows with the same people for the same people.
First, you do a piece of material that begins and ends and has a flow; it's not chopped up as in a film, where in an extreme case you might be doing the last scene of the script the first day that you go to work, and you don't know enough about the character you're playing.
I heard that the same thing occurred in a scene in Alien, where the creature pops out of the chest of a crewman. The other actors didn't know what was to happen; the director wanted to get true surprise.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
I'm an emotional actor. When I'm doing a scene, I really believe it. I live the part as long as I'm in the scene.
I like finding stuff that I suck at and trying to get better. So I'm taking classes, getting myself comfortable in an acting scene. You've got to work out those ticks. For instance, standing up used to be really hard for me. I act much better if I'm sitting down.
It's fun to figure out a way to make something happen that will get the reader involved on a visceral level. When written well, an exciting scene on the page will actually have a physical effect on the reader - your heart will beat faster, your adrenaline will start to flow.
A lot of young actors will do a scene and then run off and look at themselves. I don't believe in that at all.
To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse - we've got these two actors, we want to see them naked, so let's bring in the music and the soft light.
Guy Pearce is very precise and clear about understanding the rhythm and the music of a scene.
I dreaded the dance scene in 'Love Actually' more than having my teeth extracted.
A scene, a day of shooting, can often make you feel kind of stupid and inept because your one job is to anticipate and react and know what to go for.
As I work, I see my writing - each scene, each chapter, each section, each book - in three-act structures and classic myths, and I analyze them through the handy filter of the detective story.
I shy away from showing cruelty on the page. A lot of the violence in my books actually happens off stage. The police come on to the scene after the event has occurred.
Language cannot describe the scene that followed; the shouts, oaths, frantic gestures, taunts, replies, and little fights; and therefore I shall not attempt it.
I started off in England and very few people knew I was Australian. I mean, the clues were in the poems, but they didn't read them very carefully, and so for years and years I was considered completely part of the English poetry scene.
New Yorkers have a delightfully narcissistic habit of assuming that if they're not conscious of a scene, it doesn't exist.
It's always difficult to play a scene of physical violence because you're always afraid that you don't know your own strength and might hurt someone.
I would say, stay the hell away from the party scene. Anything you put in front of your goal, and especially something like that, whether it's too much gambling, too much food, too much cold beers on the weekend - anything that you put in front of the prize is going to end up getting in the way and hurting you in the end.
Remember the first time you went to a show and saw your favorite band. You wore their shirt, and sang every word. You didn't know anything about scene politics, haircuts, or what was cool. All you knew was that this music made you feel different from anyone you shared a locker with. Someone finally understood you. This is what music is about.
In Canadian comedy, you'll almost never see guns. If you bring a gun into a scene, it's like, 'Whoa! Wow, how are we going to deal with that!' Guns in an American comedy are a given. Violence in America is used in a much more cavalier way.
When I moved to New York at 22, I didn't know what I wanted to do. I took an improv class, and the first scene I did, I felt like 'I want to do this for the rest of my life.' It was the first time I ever felt like that about anything. I tried to make a living off improv.
Sometimes, there's a preconceived notion of how a scene or how a work should be delivered. And I see young performers sometimes try and deliver that, and it's not really true to their voice or who they are.
If I'm preparing for something and I've got a huge day the next day, I have to get into character the night before to assess the scene. I can't assess a scene unless I'm in character, if that makes sense.
I find Denver's hipster scene to be fully unique.
When you go to your local police officer, your police chief in the town you live in, big or small, he will tell you the vast majority of the weapons recovered at a crime scene are either stolen weapons, and/or they have been 'lost' or stolen.
I don't know about the whole song-and-dance thing. But if India will have me, the independent cinema scene there is something I'm really interested in.
The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough.
Actors must practice restraint, else think what might happen in a love scene.
There isn't much of a music scene in Hermann, unless you like polka. But the landscape I grew up in is a part of me. I spent a lot of time in the woods doing a lot of nothing to break the boredom.
The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible.
My first sex scene - and it was with myself.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
Every time I work on a scene or I work on the overall movie, I had my kids unconsciously in mind. Is that going to please them? Is it going to be funny for them? And if it is funny for them, is it going to be funny for their friends and their friends' friends?
