A scene can be created when people are coming together. Either to shop or to hang out.
The thing about running is, if I run in the morning before work, I feel like I'm ahead of the day. Whatever work I've done in terms of preparation or research or thinking about the scene or the character, it all kind of crystallizes in that moment in the morning. And sometimes I have the best ideas then.
I've always been quite good at watching someone do something and then picking it up, so I turned that talent to watching people on the film set, and just saw how small everything was and how intimate the scenes could be.
I think because I do model for brands but it's never without input, ever. With AG I front their campaign, and obviously designed the collection for them. I did the same back in the day with Madewell. Even with Longchamp, there's a certain amount of collaboration on deciding on photographers and stuff like that. It's something that I'm accustomed to doing behind the scenes.
We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.
It's true that compared with the scene when Unix started, today the ecological niches are fairly full, and fresh new OS ideas are harder to come by, or at least to propagate.
The True-GNU philosophy is more extreme than I care for, but it certainly laid a foundation for the current scene, as well as providing real software.
It's never the practice to shoot the scenes in the proper order. Sometimes you shoot the final scenes of a film before you've even started the beginning. So you get good at it because you have to sort of just eliminate the memories of something you've done as an actor, which you haven't done as the character yet. But it sometimes is a bit of a mind-f**k.
I didn't want to overstate anything, but at the same time, the scene expands on some of the themes in the film [ "Aquarius"].
Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.
These 150-minute superhero films that Hollywood is making are so concerned with their length that each scene doesn't have the time it needs to make sense.
The movie [Aquarius] is about love, ultimately, and it was made with love. There were a lot of parents in the crew, and they were the best crew I had ever worked with. Everybody knew the construction of each scene, and were completely invested in every shooting day.
When I saw that scene [in ocean from the Aquarius] for the first time, it blew me away. It caused me to reflect on my age, my history and all that I've been through in Brazil. Having been away from Brazil for so long, while not speaking in my own tongue, when I saw that image, I felt like I was taking my first deep breath after nearly suffocating to death. It was like the plastic had been removed from my head. Even if this breath turned out to be my last, at least I got to have this one moment of release. At least I got this one chance.
It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it."
I think of a movie as a human body. You can feel the pump of the heart and the blood going through the veins when you watch that scene.
Nobody who comes out of the movie [Aquarius] focuses on those [sexual] scenes, because they are not the heart of the film. They are a consequence of the story, but I don't remember hearing audiences talking about them afterward. They came out discussing themes of resistance, history and memory. They're talking about the beauty of the self and how it can become demolished.
There has been a ton of excellent music in this period (along with a few misses), evoking scenes like a bar-room brawl at a border-town dive, a washed-up singer in a smoky lounge, and the scenes of violence in Bob Dylan latter-day music videos.I think the ethos of this period is best summed up in the 2001 song "Summer Days".
D.C.'s always had a great scene.
In one of the scenes [in the Ordinary World], you can see a little cameo of my son, who's in the party. You've just gotta bring it all back home.
Madisyn [Shipman] was great. She's a really talented kid. We got along great. It was fun, in between scenes, I'd pull out my iPod and show her different old rock 'n' roll and punk stuff, and she was really into it.
Tommy Nohilly, who plays Tubby [ Valley of Violence], he came down to see the movie for the first time and I was like, "You've got to come just to see people react to your [big scene]." I knew that would go well, but it's satisfying to me when he's sitting there and it actually does.
The movie [ The Innkeepers] is in no way a comedy, but I would put some of the funny scenes up against some of the funnier comedies this year. I think it's genuinely really funny, but it's out of the gallows.
One of my favorite scenes of the movie [Valley of Violence] is when Ethan Hawke is sitting at the campfire with the dog.
I don't want to make decisions about what I'm going to do before I'm doing it because I base my acting off my partner and off the other people in the scene.
I believe that unless it's a scene where I'm alone, then of course I could do what I want but I think good acting is about what happens between people, not on your face and my face.
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