I think there's a lot of things that occur within the African-American community, that we would prefer to stay within the African-American community - that we get a little nervous when you start having scenes or dialogue that we know is going to be viewed and heard on a national or global scale.
Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.
The scenes in the show were filmed with a crew of really excellent stunt jumpers, but we had the feel of the parachutes, so we could be more realistic in the roles.
Long scenes of emotion are quite difficult - you've got to build up to them and make sure you're in the right emotional space.
I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot.
We pass now quickly from each other's sight; but I know full well that where beyond these passing scenes you shall be, there will be Heaven.
I mean, I have done scenes with animals, with owls, with bats, with cats, with special effects, with thespians, in the freezing cold, in the pouring rain, boiling hot; I've done press with every syndication, every country; I've done interviews with people dressed up as cows - there's honestly nothing that's gonna intimidate me!
The book came after the fall of the Taliban, it says something about Afghan family life. Those kind of stories - what happens behind the scenes on a TV screen - are important.
One week I was in school and the next I'm at Leavesden Studios in Dumbledore's office reading scenes with Daniel Radcliffe. Weird. And terrifying for such a huge 'Harry Potter' fan.
My inspiration comes from so many things, it is hard to give credit to one. I find music of all kinds to be a great inspiration. A melody or a lyric can fire my imagination. Exercise is another. Endorphins fuel my thoughts - I tend to work out scenes and dialogue when I am exercising. Reading is also a great inspiration.
I am kind of the front man for a team of people behind the scenes who are working just as hard as me and are putting in just as much time to make this all happen. I'm not trying to be humble. I just want everyone to get credit where credit is due.
The romance stuff is easy. A sex scene... that's hard, because you don't know what to do. Those scenes are awkward.
You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.
I loved being behind the scenes and finding out how they make movies.
In big battle scenes, like 'King Arthur', you see the knights in all their fine armour, but they're not in the thick of it: follow the perspective, and you'll find some poor little sod, who didn't want to be there, anyway, with his head split.
It's too bad I'm not a flirt. When I'm on the sets, I'm too busy working on my scenes to look at the ladies.
My first exposure to what Hollywood was like, behind the scenes, was when Joel Silver started screaming at Roger Rabbit at the beginning of 'Who Framed Roger Rabbit.'
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.
It's always easiest for me as a writer if I know I have a great ending. It can make everything else work. If you don't have a good ending, it's the hardest things in the world to come up with one. I always loved the ending of 'The Kite Runner,' and the scenes that are most faithful to the book are the last few scenes.
What happens so often as an actor is that you retain the information about the scenes that you yourself shot and you obsess over certain scenes that you found the most challenging or interesting. The rest of the film kind of falls away in your memory or it fades a little bit.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
I am so excited to extend myself behind the scenes as a designer and to - as my father puts it - finally have a real job.
No, 'F/X 2' was a job. I enjoyed doing it but that was definitely a job. I wrote that, I didn't direct it but 'Candyman' and the earlier horror movies I made, I was completely into horror and suspense and always have been. It's informed everything I've done, even the way scenes are shot in 'Kinsey and 'Gods and Monsters.'
Doing that hunt scene was really quite demanding. I actually broke a rib during that scene. And then all the scenes after that became quite challenging, just breathing and laughing.
War scenes are less difficult than love scenes.
I would have to say honestly I was very pleased to be in a film whether it was good or bad with De Niro, Norton and Brando even if I don't have any scenes with them, I thought it was pretty good company to keep.
I like documentaries because there's nothing to nitpick or criticize about scenes if they aren't just right. It's about honesty and real-life circumstances coming out. Granted it can be swayed by how people tell that story, but overall, I like it because it is true.
My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.
Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
We're a show-and-tell generation. People want to see behind the scenes. The more involved and invited they are, the closer affinity they have to your brand.
Every other show that I'm on, they're always rushed, and you feel this pressure to hurry up and get out of the scene, but I don't feel that way on 'Transparent.' They like to linger in these scenes.
When 'Pune-52' was offered to me, I liked the script, but I wasn't convinced about the kissing and other intimate scenes. I tried talking to the director, but things didn't work out.
First scenes are super-important to me. I'll spend months and months pacing and climbing the walls trying to come up with the first scene. I drive for hours on the freeway.
Yeah, you know, if I'm having an emotional scene I do like to go off and be by myself; not to say that I'm a method actor or anything like that, but for scenes like that that are more emotional, I do like to take that night off and not be so social.
Sometimes, scenes are great without any music at all.
