By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.
Soaps have a schedule where you have to be done in 15 minutes. With an hour show, there's no way to get off schedule. On a movie, it's a lot easier to go back and reshoot scenes. I wasn't used to that at all... taking the time to really make each scene as good as it can be, which you can't do on soaps.
I don't find intimate scenes more difficult than other scenes.
Some of the biggest changes that have happened are behind the scenes, in the way we produce the magazine. E.g., much of our production has been brought in-house via desktop publishing.
When I direct and have to look at filmed scenes of myself, I suck.
I wanna sit behind the scenes and see nothin' but the greens.
I feel like all the songs are little scenes, different angles, of the feelings that come around something ending.
We began to do little things, have little scenes where we just talked about things that had nothing to do with the plot. In fact, in the beginning, they didn't want us to do that. But as time went on, you see that in so many shows. I think we were the first to do that.
I happen to know there is nothing sexy or romantic about love scenes. They are just awful to do.
I love doing emotional scenes. As I've had a perfect life, I don't really have much to pull from. But it's really fun and not that challenging. It's almost pretty easy. The hardest thing is to try and make people laugh. That's a really hard thing.
I only storyboard scenes that require special effects, where it is necessary to communicate through pictures.
Doing love scenes is always awkward. I mean, it's just not a normal thing to go to work and lay in bed with your co-worker.
And in the middle of one of those scenes, I suddenly felt my heart just open: it was overwhelming, to the point where I got teary-eyed. Never would I have thought anything like that could happen in a love scene.
I was so passionate about wanting the role in 'Like Crazy,' I filmed myself in the shower because that's where one of the scenes was set. It just felt instinctive. It was a close up! It would have been strange if I'd sent off a wide shot of myself. That's not the kind of work I want to do!
We've rewritten entire scenes and had them animated twelve hours before the show goes on the air. It's not fun.
On 'Game of Thrones', the people that I've met, of the people behind the scenes, was not even a scratch of the vast crew that actually does work on that show.
I started out splitting my time between the Kansas City and St. Louis comedy scenes, which both had bluer sensibilities than other cities that I've worked.
For a director, the most challenging scenes are the dialogue scenes.
So we had psychiatrists and counselors and therapists around the set regularly, especially for those scenes in which Jason would be dealing with a patient to make sure we were doing it all appropriately.
I would love to continue working behind the scenes in music - to produce and manage up-and-coming musical talent would be a dream!
When 'The Thin Blue Line' came out, I was criticized by many people for using reenactments, as if I wasn't dedicated to the truth because I filmed these scenes. That always and still seems to be nonsensical.
The so-called commercialism includes elements like story, plots, rhythms and large big scenes.
The love scenes that worked, regardless of the director, were the ones where the actors weren't fearful. When somebody was fearful, you could see it right away. It takes you out of the story, and that's to be avoided at all costs.
Everyone saw me on TV or read articles, and it was all about my great marriage, the white picket fence, all this success and my perfect life. But behind the scenes, it was a struggle.
I had a novel in the back of my mind when I won an Ian St James story competition in 1993. At the award ceremony an agent asked me if I was writing a novel. I showed her four or five chapters of what would become 'Behind the Scenes at the Museum' and to my surprise she auctioned them off.
I've never lived in Eastern Europe, although both my wife and I have ancestors in Poland and Russia - but I can see the scenes I create.
I've cut myself out... I've cut scenes out that I was in and that's when you realize that you've got to make the best movie you can.
I was a good college kid, all-American and baseball-playing, living in the dorms with a million barbarians. I did not expect to be claimed by Fitzgerald hook, line, and sinker. 'This Side of Paradise' - that sweet, sophomoric pastiche of notes, scenes, poetry, and plays - I felt like he'd written the book just for me.
If your reader has been given a rousing opening, he will usually then sit still for at least some exposition. But be sure to follow that chunk of telling with one or more dramatized scenes. That's much more effective than being given section after section of telling.
I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.
I try to imagine the scenes as I'm writing them as if I were watching them play like a film.
For, behind the scenes, halfway around the world in Mexico, were two decades of aggressive research on wheat that not only enabled Mexico to become self-sufficient with respect to wheat production but also paved the way to rapid increase in its production in other countries.
I like doing fight scenes. I always have, and I insist on doing as much of that action as they'll let me do. I think that's easy for me.
There were scenes that just for length purposes, and knowing that the attention span of kids is not great, don't make it much longer than about 90 minutes.
I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.
I can only speak for myself, but you never set out to be funny. You just set out to play the scenes real, and hopefully the funny comes.
