It's a surreal thing because you are there and made up and dressed up as if you're making the film. You do the scene, which is going to be in the film, and I met him [Daniel Craig] and I'm working with the director, and so it is different to just a normal audition.
There is one scene where he is kissing up my back. It is really sexy and I didn't know he was going to do it. He started doing it and in the film you see me saying, whew, and that wasn't acting, that was really me thinking, whew, oh my goodness Daniel Craig is kissing my back! I really did. I had to stop and remind myself that I was playing a character and I was acting in a film.
I thought of the scene while writing scenes with Rebecca [Hall] and wrote it like an opening montage of showing where someone works. If you see a film about a car mechanic, you'd show the place they work and what they do. So, that's what I set out to do with Rebecca's character. I thought it probably wouldn't even make it into film but I ended up liking it.
I didn't shoot any guns then or when we did the scene with Uncle Charlie [Matthew Goode] and Evie [Nicole Kidman] in the hall. I sort of pressed the button but there were no blanks or anything in there because I think it was always going to cut.
When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.
I really loved it because it really informed his way of seeing my character and the story. If you look closely he always had this metaphor of an egg, of a little chick pecking her way out of a shell, and in one scene in the kitchen there are all these white plates on a wall and then in the middle there is a yellow plate so even that looks like an egg. And a lot of the furniture was almost sculpted in that way as well. It was really cool to see that.
I always thought the piano scene was kind of unique to shoot because we were actually able to film with the playback of the actual song. And that was quite amazing because it almost made it easier - music is usually something that is added after filming has finished so to be able to shoot a scene with music was really wonderful.
Building the scene, going out and doing shows and connecting with the fans, cultivating the fanbase in all these cities. I'm very glad that it's happening.
When I was about five my dad built a stage for me in our basement. A full stage, with a curtain, a backdrop and a dressing room. There were three colored spotlights - a red one, a white one, and a blue one. Blue was for nighttime scenes, and red was for when we were in hell. If the neighborhood kids wanted to use the stage, they had to incorporate me into the play.
I'm always excited to do the fight scenes.
In the given circumstances you must be rooted in the play. Do not depart from the play. Don't cut yourself off from your partner in the scene, or partners.
I think people need to understand that deep learning is making a lot of things, behind-the-scenes, much better. Deep learning is already working in Google search, and in image search; it allows you to image search a term like "hug."
[Bob] Dylan began to incorporate things into that scene that were controversial then. He got shouted at in Newport when he played electric guitar, for instance. There was a certain purity that was sought among those people.
I think I am example for our scene, so I have to be an example for the rest.
To me, always just - that scene is, like, so convenient. They never run out of bullets in action movies, unless it's at the most dramatic time possible.
First of all, you're improvising through a puppet, so you're not always yourself: you're a cow or you're a pig or you're an old woman, you know, whatever puppet you pick, or you're a demon, you know, whatever you pick up, that's what you get to be in the scene.
There's an awful lot of scenes where we don't know what the scene's going to be about, we ask the audience, pick a place that the scene is happening, pick the relationship, tell us who they are, things like that.
And if the audience is in a kind of naughty, raunchy mood, then they're going to make naughty, raunchy suggestions and then we take them and we do the scene anyway, and that's part of the fun.
The first big thing that I did with my dad was the bicycle sequence in "The Great Muppet Caper," where Kermit and Piggy are riding bicycles in Battersea Park in London and that was a complex marionetting and cranes driving through the park, it was a complicated scene, and I did that with my dad.
You don't really prepare for a kissing scene.
You just don't really rehearse kissing scenes, whether it's male or female.
I remember my dad turning to me - my dad loves to turn to me and explain why things are funny. He used to do that with Seinfeld all the time. He did it with Colombo, too, set the scene.
When I went to do my big audition with actors for Mr. Blonde, the thing that was very interesting was the first person to actually do the audition with the song, and they kind of actually acted out the whole scene, they weren't so great. It wasn't that they were magnificent, but the song, it was the first -it was all - been in my head.
And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.
You're an actor, you want to do a scene in class. But one of the things I've always had is I've always had a really good memory. So I would go and watch a movie and then I would see a scene in the movie and I go, hey I'd like to do that in class this Wednesday.
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