England is so defined, the class system, your education. I think what was unique about the Canterbury scene.
If you ask people why they move to the city, they always give the same reasons. They’ve come to get a job or follow their friends or to be at the center of a scene. That’s why we pay the high rent. Cities are all about the people, not the infrastructure.
I love the DJ scene out in the clubs. It is a great way to party and make people happy, the atmosphere is one that I use as an escape from reality.
I don’t really go to fashion parties; they’re not my scene.
Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.
We have gotten to the point where everything the government does is counterproductive; the conclusion, of course, is that the government should do nothing at all, that is, should retire quickly from the monetary and economic scene and allow freedom and free markets to work.
Doolittle was a major influence on the Seattle grunge scene, which emerged in the early 1990s.
Julie Dryfus and I were both afraid of heights and in one scene, I had to be quite high up and I was rather terrified, but Julie was very kind, encouraging me and we got through that together.
I hate when you see a film and after one scene you know what’s going to happen and you can predict the whole story.
You can still have chemistry on screen without getting on with the person. But it just makes your job a lot easier if you don’t have to gird your loins, if that’s not quite the right phrase, every time you’re going to do a scene with that person.
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.
As this world was not intended to be a state of any great satisfaction or high enjoyment, so neither was it intended to be a mere scene of unhappiness and sorrow.
I try to do a lot of research beforehand so I know where I want to go with a scene. I try not to get too stressed about it, because I find that’s the worst thing.
Everyone who appears in a scene gets paid.
The blues is the foundation, and it’s got to carry the top. The other part of the scene, the rock ‘n’ roll and the jazz, are the walls of the blues.
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.
The weather was turning cold and I remember that Dante was using nothing but natural light as his electric department was away, prepping the scene in the cave. We stayed on that rock for the whole day.
I feel like L.A. is more of a showcase, and Chicago is a pure comedy scene where you’re doing comedy for comedy. You’re doing comedy actually for the audience that’s there.
But I did that, and I created another blues scene, another something I can sing about.
My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall – what’s going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.
I just did a part in ‘Sin City 2.’ I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me… I’m so excited about that; I think it’s gonna be very cool.
In terms of ‘Solaris,’ I didn’t really think about the religious aspect an awful lot. There’s one scene at a dinner party, and it’s discussed, but it wasn’t an overwhelming theme for me.
Walking down the red carpet, suddenly I felt very special and different. All the flashlights from cameras and requesting voices from the media, the scene, it was just like what I remembered seeing on TV or a movie when I was a little girl – the scene only when movie stars appeared.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
Like with Berle, he was always trying to steal the scene, get a little extra.
I’ve never wanted to be part of an inner circle of any scene. I’ve always been an outsider looking to question and subvert.
In films you do a scene, you play around with it and unless you’re doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.
I become a better actor after I step on a stage in front of, like, 500 people when it’s just me, a microphone and my guitar. You don’t get as nervous walking into a room in front of 3 or 4 people and to do a scene or to walk on a set. You gain confidence.
Actors must practice restraint, else think what might happen in a love scene.
I definitely want to work with Thom Yorke. I want to work with Damien Marley; there’s a few international artists I wouldn’t mind working with – like Massacre Children would be ill, and I still have an affinity for the U.K. hip hop scene.
Suppose I put polka dots all over my body and then cover my background completely with polka dots. The polka dots on my body, merging with those in the background, create an optically strange scene.
Where is this Hollywood scene, where is it? I’d like to find it one day… If I want to go out and have a good time, I go to New York.
The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.
You don’t want me to sing. I could do a really bad karaoke scene, if I had to, but I’d probably choose to rap.
I’ve got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot ‘Old Boy,’ which is a very famous single-take fight scene. He’s really a true master.
I am fascinated by crime scene investigating. I swear, I wish I was a crime scene investigator sometimes!
Shooting of course has certain challenges, especially in terms of safety aspects to be sorted and venues are far away from the scene of action.
I was a child actor in ‘Deliverance,’ but not the banjo player. It was my dad’s big movie as a director, and at the very end there’s a scene where Jon Voight comes home to his wife. I played his young son.
When it’s a love scene with someone you actually love, there’s no feeling like, ‘Can I touch him here? Can I touch him there?’ You know what your boundaries are – or what they aren’t, I suppose.
I don’t take a scene or word for granted.
With fantasy and sci-fi, it’s based in a real fandom. You’re presenting to experts, and their source material is really important to them. They’ll come up and ask: ‘so when you turned your head slightly in that scene, what were you thinking?’
The scene where I took my eyelashes off we did in two takes.
The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible.
And that’s why I chose on purpose not to have a death scene. We’ve seen them in a million movies and it’s too much like cranking the tears out. I didn’t want that scene.
Sometimes you go into a film and you have no time to prepare and have to compress the details into a few days and then rely on the instinct and what happens when you’re in a scene with other actors and that chemistry or not.
Real art is basic emotion. If a scene is handled with simplicity – and I don’t mean simple – it’ll be good, and the public will know it.
It’s important to me that I don’t get trapped in the whole teen scene, because I feel that you can get lost in those kind of movies, and they aren’t really about the actors; they’re about the selling of the concept, and how much money it makes.
I worked in a coffee shop called Buzz Cafe in Oak Park. I started when I was 14 or 15, washing dishes, and then I became a barista and sometimes waited tables. It was an artsy scene.
There is one confrontation scene toward the end of the picture. In the middle of the scene, I thought, That’s Sean Connery! I don’t know how else to describe Sean Connery. I still feel that way.
I just never want to be in this situation where I get to set and they’re like, ‘We rewrote this scene, you’re now naked.’ I need a little prep work.
We did have a script, but it didn’t consist of the routines and gags. It outlined the basic story idea and just a plan for us to follow. But when it came to each scene, we and the gagmen would work out ideas.
You know, I remember watching Morgan Freeman when he did the two Alex Cross movies, and he’s so confident that he’s going to knock the scene dead. And I’m really confident that I can tell a good story now, so I just don’t worry about things.
I certainly wasn’t a fan of Thatcher’s politics. People liked to label us as children of Thatcher. What nonsense. The real children of Thatcher came in the 1990s, and had no interest in politics. The Oasis, Britpop scene.
Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.
No, the people standing before Christ and Pilate during the judgment scene do not condemn an entire race for the death of Christ anymore than the actions of Mussolini condemn all Italians, or the heinous crimes of Stalin condemn all Russians.
