I come from a theater background, so I always like to dissect the scene and try to get some hint about what the author was trying to get at. I still look up the meaning of the name of the character to see if there are any clues in that.
I don't strive for balance. I just try to get through my to-do list, with my kids' homework being at the top of it, and then try to prepare for the next audition or whatever scene I'm shooting next. Balance.
Trying to stay in the moment as an actor and being really [present in] what you're doing and the scene that's going on and where the characters have come from, it wasn't difficult, per se, to really embody and embrace.
I'd like to build my company and make a bigger company always, but I think in the behind the scenes arena is where I'd prefer to spend my time.
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.
I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.
If it doesn't have sex scenes in it, I won't do it.
In one way, it is this sense of order and also love that, I think, really saved Eleanor Roosevelt's life. And in her own writing, she's very warm about her grandmother, even though, if you look at contemporary accounts, they're accounts of horror at the Dickensian scene that Tivoli represents: bleak and drear and dark and unhappy. But Eleanor Roosevelt in her own writings is not very unhappy about Tivoli.
Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.
For me, my favorite scenes, when I'm in my comfort zone, are the fighting scenes Those are my favorite to do, so I'd love to have more of those.
Nina Simone was a gifted and prolific singer, songwriter and pianist who became a powerful presence in the civil rights movement and paid a professional price for it. Behind the scenes, she struggled in a fractious, sometimes violent relationship with her husband and manager and with mental health issues that strained other relationships, including with her only daughter.
We all have to hold each other accountable and point that behavior out to each other in a kind way. I guess what I'm saying is just having women behind the scenes isn't enough, we also have to be aware of what we're saying about ourselves.
I wasn't nervous at all. I applied the same amount of efforts to the love scenes as I did to the skating and the acting and everything else.
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.
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.
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.
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."
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.
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.
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.
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