It is always a nice feeling when you are challenged by a scene and you walk out of trailer and you go on set going I don't know. And then half an hour later you're walking back.
There's nothing worse than shooting a scene you haven't rehearsed.
For the actors, there's something very important about that first showing of the scene to the crew, becomes like a little performance.
You would never dream of going on to play a scene in front of an audience at least without having rehearsed it. But you do somehow in front of a camera.
I love exploring in a rehearsal room with other actors, scenes and you know, stuff you are scared of.
You know, an audition usually is you come in and read the scene and if you're lucky, you get to read it twice.
It's impossible to put your finger on what that is exactly other than protecting the environment that the actors get to find the scenes and build the scenes and invest in them. I think that's key and that's what I've learned from all the great directors I've worked with.
I pitched Jay Hunt the opening scene (prime minister, middle of the night, he's woken up...). She paused, and then she laughed. She was very intrigued and all that, and then she said, "Does it have to be a pig?" So we went through various options: Could it be a supermarket frozen chicken? A giant wheel of cheese? A pig seemed just the right level of absurd, but then when he walks in and there's actually a pig there, it's awful.
I was buying old records a lot in my early teenage years and I was mostly drawn toward the artwork even more than the band itself. I loved the way the art set the scene for the music.
I was fortunate to be connected with bands who later became pioneers for certain genres of music scenes. And my art went along with them for that ride and became associated with it.
I'm not sure at all about the current prog rock scene.
What is useful about when there is a sort of pull-out to reveal moment going on is that it actually focuses the mind when you're writing the earlier scenes because you're thinking 'right, how do I? I can only show this amount of the room... I can only show these characters from the waist up because they've all got robot legs!' it's a challenge so it keeps you engaged on some level.
[Tim White] always spoke about his work in terms of forensics, as if he was investigating a crime scene. While we were there, they found the fossilized excrement of a lion that had turned into stone, and we would immediately start to concoct stories. Was it a lion that killed the early human? Of course, the lion could've been there three weeks later, or maybe 20,000 years earlier.
I don't think I'd call [mood] a major force, but it is important as far as hitting the right notes or nuances with a character or scene.
For example, if it's a sad scene, I need to feel that way, at least to a slight degree and for a short while, to get it right. Which is why I sometimes listen to music when I'm revising. Music creates moods for me quicker than any other medium.
When I'm writing something, if it gets too serious, I just can't bear it, so I take a step back and take the overall scene in and vent the air a little bit.
Let's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
The movie [Blue Jasmin] shot very quick. I met Cate Blanchett in the car on the way to set, and we did that last scene, and she was just so phenomenal. I had basically met her that day. Because the way he shoots, everybody just shows up and does their thing, and he moves us very quickly.
I had one line. My two larger scenes had gone fine, and then on that day I screwed up that line over and over and over again. And every time I screwed it up, they can't use the whole thing because they're only using the one shot [in Blue Jasmin]. That was my last day.
Sometimes I'll have a scene that strikes me, I just feel like writing a scene, a mini-story that seems like it might lead somewhere. But that is such a tentative, fishing-hook way to go about it that these days I've found it's easier to kind of at least have your concept and start attaching things to a skeleton. So I try to find the armature, the kind of backbone of it first that you can start to hang those scenes on.
I had many dolls. And you know how I played with them? By performing insurrections, assemblies, scenes of arrest. My dolls were almost never babies to be nursed but men and women who attacked barracks and ended up in prison.
When we shot that [Westworld], it was so funny. Not funny - I mean, like, funny-strange because I, personally as an actress and as a person, am so used to having to play the damsel, that when we were shooting that scene, and Jimmi looked at me and said, "Dolores, run," I ran. Then I stopped myself, and I turned around and I went, "Oh my God. I'm so used to running."
I actually fell asleep during one take with Jeffrey Wright because I relaxed myself so much. I just stayed so still that I just nodded off, and kind of snapped back into it in the middle of the scene.
If I had problems, I kept them to myself. I didn't make a scene.
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