Robert Altman made that movie Kansas City about the jazz scene in the city, and we saw that band all together, and that was an amazing show. That's what I got into. I like jazz.
I like to photograph miniature constructed scenes - I'll buy a very sad cake decoration like a plastic computer for a dreary office birthday party and construct a wildly colorful scene to put on its screen, or do a series of dollhouse chairs frozen in ice cubes.
Ironically, even the fashion in New York or Paris or Milan or whatever, or music in Berlin, or art in, I don't know, Madrid - all these scenes come and go. Everything leads back to Hollywood.
I've done a nude scene and I felt it was appropriate to the storyline and I thought it was done in a respectful way and I felt comfortable doing it. But there are obviously going to be scenarios - not necessarily in this job, but in other jobs to come - where the question will be posed to me 'Will I want to do nude scenes?' and I would have to consider that as its own thing. And not just something to say yes to because I have done so before. It really is circumstantial.
I had to work with Ben Mendelsohn who's one of the great actors of our time. I had a lot of scenes with him and I was thrilled to be on the set with him; I just wanted to see how we were going to play it.
As a fighter, you have a weight cut, and if there's a weigh-in scene you want to look way smaller and depleted. You want there to be a noticeable difference between that and the fight day. You don't drink water, except for tiny sips, and you're not really eating anything, except for a tiny slice of sweet potato every hour.
When you're the guy behind the camera, you're aware of the reasons for the compromises or the changes that get made. As an actor, you go and do your thing, and someone else down the line then does all the math and goes, "We can't include that thing where he's pretending to be dumb and needling those people, because it takes a minute and a half, and it ruins the next scene. It doesn't make sense." If you're directing, you're the one doing that.
Actually, one Anthem cue is a good example of the process. There is a four-minute sequence of music in Anthem, which underscores a prison sequence, and it lines up with five different, smaller scenes within one large scene.
I'm kind of an antisocial person. I realised when I was playing in bands that I wasn't that comfortable being on-stage, and I preferred to be behind-the-scenes. I like the seclusion of composing.
I use singing as a warm-up before big scenes I have to do on set. It's also great to make people less nervous.
In East of Eden, John Steinbeck wrote that there's never been a great creative collaboration. When the Beatles first burst on the scene, I thought they were proving him wrong. Later, we learned that Lennon and McCartney had each composed their pop masterpieces separately, individually. So it goes.
Acting makes me feel vulnerable. Especially depending on the type of emotion I'm portraying in a scene.
John Cassavetes was there at night while I was working. After they [with his friends] discussed as much live TV as they felt they needed to, they started improvising scenes just for the fun of it and one of those scenes everybody got very interested in and it turned into Shadows [1959]. That movie was entirely improvised.
We have military bases all over the world, and that's purely to protect our portfolio abroad.Our investments, and our production, our exploitation of cheap labor and raw materials. We're on the scene to do that, and the military is there to see that it happens.
I had never done a Director's Cut narration on Beaches so I did in time for the release of the DVD. It was a great visit and I do a whole-behind-the-scenes thing and I tell stories about Bette [Mudler] and Barbara Hershey and everybody and that was fun. It made me cry again.
[Beaches] is a pretty picture and I just liked having somebody like Bette [Mudler] who can be flying in the big comedy scenes and have her do more like a realistic part.
In the middle of Beaches there's a scene from the "Laverne & Shirley" TV show so they see some history of my work in each film.
Often when something is going on behind the scenes and people fight for change, the fight will go on and on and on until they understand the mechanism that they're actually fighting against.
I had never really written songs for anyone before. With [Broken] Social Scene, you're writing songs for others and your passing them around and exchanging things, but for a man who has the history that Andy Kim had, and has lived the life that he's had, you see such a youthful aspect of how he just wanted to create something again.
It's pretty easy to think of the idea of a story, and maybe even to write a scene or two, but understanding the ebb and flow of a narrative, where to leave the little clues your protagonist (and reader) need, while playing fair, takes a lot more skill and patience than you might think.
Then you have people coming up like Malcolm Bradbury, a relatively young writer who deals with the academic scene and deals with it, I think, brilliantly.
In fact, one of the funny stories from that set [of Hail, Caesar!] is we were shooting my scene, and around lunchtime, Terrence Malick shows up on set. He was uninvited and no one knew who he was. But I knew, just looking at him. I was like, "Holy moley, that's Terrence Malick!" So I went and told the PA, "Hey, Terrence Malick is here, and I think he wants to see the Coen brothers. He wants to talk to Joel and Ethan." He just showed up unannounced, uninvited, and I guess they spent their lunch hour with him.
I've always listened to jazz or folk or blues. I was always listening to the prophets. I don't really go for...I don't know how to say anything about the singles scene without slamming people.
When you do a play, you have all this time to rehearse and grow into the character. In television, even though you're waiting and waiting and waiting, once you're actually on set engaging in the scene with another actor, time is of the essence.
I felt violated after certain scenes in the movie [Stone]. She [Lucetta] is a tough character. The choices she makes, especially her sexual choices... it was hard for me to put myself out there like that.
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