I must confess I knew very little about the trance scene, I’m more house and commercial dance but it was really interesting and different.
I like working with actresses, and I like women a lot, not for obvious reasons, but just in that that there’s so much about what they bring to the scene that keeps it so interesting. Their instincts are so different, and they never explain them to you.
When you’re around the whole Dead scene, they’re there as a tribal thing; they’re there as part of a rendezvous and a pow-wow.
You rarely find someone who sings really well and who produces really well; it’s a problem, and I just think it’s a missing link in the music scene.
I was going to be a musician, no matter what it took. I supported myself with blue-collared jobs so I could write music and be in a band and play shows. I even got into an underground art scene. I was going to do whatever.
In Paris we have bistros, then we have fine dining. In London, you have a very contemporary scene with mixed influences.
The stuff that I got in trouble for, the casting for The Godfather or the flag scene in Patton, was the stuff that was remembered, and was considered the good work.
Yes, you can feel very alone as a poet and you sometimes think, is it worth it? Is it worth carrying on? But because there were other poets, you became part of a scene. Even though they were very different writers, it made it easier because you were together.
Especially with a comedy, you’ve got the clear cut goal of trying to make a scene funny. It’s not like drama where you’re trying to achieve some kind of emotion or trying to further the story along. You’re trying to figure out what’s the funniest way to do something.
Certain things can’t be approximated, so I’m always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful… Brutal language isn’t necessarily the most truthful way of describing a brutal moment.
I think everyone’s different but in comedy, I try to do my scene to make the director and the other actors laugh. If I can make them laugh and we have the same sensibility, then I’m on the right page.
Every Sherlock Holmes story has at least one marvelous scene.
If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.
Webcomics are much bigger than any one scene can circumscribe.
I think if you play music and you join a scene you’re already too late.
Try to forget what objects you have before you – a tree, a house, a field, or whatever. Merely think, ‘Here is a little square of blue, here an oblong of pink, here a streak of yellow,’ and paint it just as it looks to you, the exact color and shape, until it gives you your own impression of the scene before you.
I have no memory for what happens in what books. I don’t know when I might remember a scene, but beats me what book it’s in because there are 14 of them now.
The less the camera is able to capture what you’re seeing in a scene, the more editing it needs.
David Lynch’s ‘Fire Walk With Me’ has a scene in it that scared me so bad that I don’t remember it. I blocked the memory out – repeatedly! I’ve seen the film two or three times, and I can never remember what it is that scares me.
If you give me a typewriter and I’m having a good day, I can write a scene that will astonish its readers. That will perhaps make them laugh, perhaps make them cry – that will have some emotional clout to it. It doesn’t cost much to do that.
The other guy I dug a lot was Burroughs because he was a smart man already; he learned it through the druggie pool – the street scene of an old aristocratic kind of man.
Just be nice to me while I am doing the scene; that is all. I don’t want big cars, I don’t want big hotel rooms.
I will say that equity overall is an important issue and one we are constantly looking at. In a perfect world, the entertainment and media industry and the content on our screens would reflect the true American scene.
Chicago’s like Melbourne – there’s a city center, there’s public transport, and there’s more of a cultural scene.
With today’s fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That’s what makes it an art.
My theory is, if you can do comedy and you can be in a scene with someone like Brad Garrett and hold your own, you’ve really got a future in this business.
I worked a lot in Chicago’s theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.
I have a trainer that I box with. Luckily, on ER, they’ll tell me if I have a shirtless scene coming up and I’ll have a few weeks to power it out.
What’s powerful about a love scene is not seeing the act. It’s seeing the passion, the need, the desire, the caring, the fear.
Only the change on the international scene, the crisis in the gulf, and the strong, firm position of the United States against aggression between two Arab countries created realities that led to the Madrid Peace Conference.
In 10 different takes, you can do a scene 10 different ways.
I’ve made humanitarian causes and my children much more my priority than the Hollywood scene, being liked and getting movie parts.
America, when it became known to Europeans, was, as it had long been, a scene of wide-spread revolution.
And you can’t hide in a comedy scene either. You have to give in to the scene and commit.
In ‘Purab Aur Paschim,’ there’s one of the nicer patriotic scenes which is patriotic without going jingoistic. There’s a scene set in a rotating restaurant, where Pran, who has left India, is completely running India down and Manoj Kumar is taking up for India. And there’s that song ‘Jab Zero Diya.’
If you’re locked to the words on the script, as good as those scripted words are, if you didn’t have the time to rehearse them correctly or if the perceived dynamic between the actors is different from what the writer imagined, and you’re not allowed to stray from that, you’re going to have a stilted scene.
But I just love that music scene so much, and I enjoy really being around those artists and watching them even more than I do performing, because they are a whole group of people that do it because they love music.
They were looking for actors – real actors – who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.
I’ve done quite a lot of dying on shows and in movies. To have a good death scene though – come on, it’s brilliant. I love a good death scene!
As the scene of life would be more the cold emptiness of space than the warm, dense atmosphere of planets, the advantage of containing no organic material at all, so as to be independent of both these conditions, would be increasingly felt.
Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That’s what I look for.
Certain movies like ‘Wag The Dog,’ we used improv on every scene that we did. Pretty much, we would shoot from the script and then some stuff that we came up with in rehearsal, and then we’d have at least one or two takes where we completely went off the script and just flew by the seat of our pants.
What people don’t understand is that my dad isn’t up on the contemporary music scene. He’s been a legend for decades and he doesn’t know what’s going on right now, and he doesn’t need to.
Some writers can produce marvelous plots without planning it out, but I can’t. In particular I need to know the structure of a novel: what’s going to happen in each chapter and each scene.
I love Charlie, Billy Burke’s character. Writing for him is so spectacular, he’s so funny and wry and every scene he’s in he just takes. There’s a scene in ‘Eclipse’ where Bella tells him she’s a virgin, and it’s the funniest, most awkward scene I’ve ever seen on film.
I grew up in Oakland, California, and there was a really active scene in the Bay Area. Everyone else knew it as the ‘Hyphy Movement’ of Mac Dre, E-40, and The Pack.
I think in L.A., in terms of the music scene, it’s a really strange place. It’s really hard to get the feeling that something’s happening, or the feeling that something can make it out of there.
The international proletariat first appeared on the scene in the early Thirties of the nineteenth century, and its first great action was the French Revolution of 1848.
The Taliban’s acts of cultural vandalism – the most infamous being the destruction of the giant Bamiyan Buddhas – had a devastating effect on Afghan culture and the artistic scene. The Taliban burned countless films, VCRs, music tapes, books, and paintings. They jailed filmmakers, musicians, painters, and sculptors.
