I don't know if I'll ever direct, but producing is dipping my toe into my behind-the-scenes world.
Usually, you have two people in a scene, and in the history of cinema the hero is most likely going to be the white guy. And the other guy is his friend who is carrying the bag or whatever, and you're not going to light for that guy.
The sole aim of the arts of scene-designing, costuming, lighting, is to enhance the natural powers of the actor.
It was Herzog, the man himself. He was so welcoming and kind and not at all the persona you'd seen in a magazine, or in "Burden of Dreams" for that matter. I'd shot the behind-the-scenes for "Bad Lieutenant." It was a very normal production. Nothing like "Burden of Dreams."
I feel akin to [William] Shakespeare in the sense that, as I see it, he lived to dramatize the unfailingly exciting, unfathomably strange interplay among human beings that constitutes "scenes" in his plays, and constitutes "story" in prose fiction.
Those cultural wars, Sexual Revolution issues are fading from the scene, and the coming generation has basically settled them.
Cats are great with clicker training. There's a great video you can get called "Clicker Magic". There's a scene in that video where a cat is trained to go through a mini dog agility course - it's all done with food motivation and clicker training. You can train them to do all sorts of thing.
We met [with Massimo Pupillo] many years ago in the halcyon days of the underground avant-prog math-rock scene when I was playing in Guapo.
Everyone sees the glory moments, but they don't see what happens behind the scenes.
A lot of these "reality shows" do a lot of producing scenes and producing things and drama and all that but we did the deal contingent that we wouldn't do that.
Roger [Corman] didn't actually hire me, though. I was hired by AIP [American International Pictures], the studio that made the picture, which was Sam Arkoff and Jim Nicholson. It was a great learning experience for me, because not only did I work on the script, but they hired me back to go on location when they were making the movie, to write new scenes and so forth.
In the summer between my freshman and sophomore year, my grandfather got me a job at a local messenger company working on Wall Street. I was lucky enough to have been in the business during a stock market boom but just before the fax machine appeared on the scene, let alone email and the Internet. As a result, the messenger business was booming.
If I have a clear spot in my schedule, I like to tackle the heavy scenes that require the heightened emotion and focus of a long writing session. Otherwise, I have daily obligations that can't be ignored.
You come in as this satellite part of the film [Catching Fire], so I only see Stanley [Tucci] in my scenes. These kinds of movies have so many different components; it's about as different from doing The Girl as you could imagine.
Besides acting which is my first love, I am also interested in behind the scenes.. Directing , writing and producing.
I found during the course of my political career on the national scene there's a point where the vanity burns away and you've had your fill of your name in the papers, or big adoring crowds, or the exercise of power. And for me that happened fairly quickly. And then you are really focused on: What am I going to get done with this strange privilege that's been granted to me? How do I make myself worthy of it?
There are certain scenes you do in a movie that are like catching a wave, and you leave work feeling elated - almost as though you've purged something. That's rare, but you do live for those moments.
It was a lot of fun to play a character [in Swiss Army Man] with no inhibitions, and with no knowledge of the world, and who comes into the world kind of like a blank slate. It means there's no template or blueprint for how you need to play certain scenes.
The rehearsal period is so far away from the time when the scene will actually be shot that very little is remembered.
In the first earthquake scene [ in "2012"], there was only a limo and a plane. That was it. There was nothing else there, so everything had to be created in the computer, and that's always very difficult.
When I was 13, I kind of got into the punk scene. I realized it was easier to wear a pair of combat boots and jeans and a beat-up T-shirt. I think of it as a uniform: Ya know, if you're a Maytag man, you put on your bow tie. I still have T-shirts from when I was that age.
These musicians, such as these Cubans in Havana, are a part of a scene that did produce great music and great musicians. They came from this tradition, so it's a good place to look. It's like prospecting: You gotta know where to look.
When you are working hard, you don't have time for anything other than what you are doing in the scene and what the director wants.
When you're casting, you get a page or two - just enough to do the scene. Now that you're in the world, you get the whole script.
I am comfortable talking about sex scenes and stuff, but to me, when it's physically explicit, I do feel prudish and uncomfortable.
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