We are drawn to Twitter the way we are drawn to the scene of an accident.
The main thing I learned doing love scenes with a woman was, if it's there, it's there.
Whenever there's a nude scene, it's always uneasy. You're not in the comfort of your own home with your significant other.
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.
IS [Islamic State] has played a major role in helping Bashar al-Assad to reposition Syria on the international scene. Now, it is almost impossible to come up with a solution that would exclude him. The political game appears to be very cynical indeed.
The opening scene in A New Hope, when you see the huge ship, it goes on, and on, and on, and on, and on... that is like a joke of awesomeness.
I think about Dischord. There's been a pretty consistent notion that Dischord have been some sort of "overlords" of the scene. Some people have felt 'they are too cool for us,' or 'they won't put this out,' etc. All we're doing is our own work, our own thing. That's all we've ever done. Our work.
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.
We had a work session [in "Moneyball"] where about 30 scouts came in and we're all riffing. And after it, [director] Bennett Miller said: Look at these faces and this is what we have to got to do. We got to get these guys in the scene.
The thing about our cast - and I'm not saying this just to be diplomatic - is that everyone is really fun, and really hardworking, in equal measure. Julia [Louis-Dreyfus] and Tony [Hale, who plays President Meyer's "bag man," Gary Walsh] are always doing outrageous "bits" in character right before we start scenes, which are hilarious.
Remember I came to Albuquerque to do a hair and makeup test and wardrobe fitting; you guys were already shooting. It's tough when the movie's already started and you kind of show up. You're the new kid on the block. I walked onto the set and Tommy [Lee Jones] was about to do the scene. I just kind of walked up to him. I was shaking, but I just gave him this big hug and he just had nothing to say. He was like, 'Gotta go to work now.' I had a great time working with him."
Even if we don't see it, God is always working underneath the surface, behind the scenes and orchestrating His plans and purposes.
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.
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 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.
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.
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.
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.
[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.
Really, for me, it's important to know who's pitching and who's catching - just what that scene is supposed to accomplish in terms of storytelling. That being said, on the day, basically what you're trying to get yourself into an open place. And if the character is in a state of anxiety or vulnerability, you try to find some touchstone.
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.
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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