I mean that much more than wiser beings from beyond the stars bringing us enlightenment or death or salvation, we are likely to find ourselves the wisest beings on the scene.
Obviously record companies tend to be following what the scene is rather than making the scene.
Sometimes when you do fight scenes you think, "Oh, I'll be hit in the face," because people get carried away with their vanity and want to look too cool to care, but we were all really careful with each other.
The bigger budget films only shoot about a page or two a day, so there's very specific amount of time spent on detail and getting each tidbit exactly how they want it. In a movie or TV show, you shoot eight or ten pages and you aren't afforded as much time to do each scene.
In the texts, and as His Holiness the Dalai Lama reminds us, we should check the person's behavior not when they're sitting on a big throne, but behind the scenes. How do they treat ordinary people - not the big sponsors - but just ordinary people who are of no particular importance to them.
What I found was an emotional consistency with him. The words, the scenes, the situations - I wasn't mimicking what I thought Branch Rickey's emotional reality would have been.
I shaved my hairline back and dyed my hair and wore a little powder, a little paint, a fat suit, and I changed my voice, but the emotions were consistent with what the point of the scene [with Branch Rickey] was.
We did every scene together, every day for four months, and it could have been a disaster, if we didn't get on, but we clicked straight away. Elijah Wood is just the nicest guy.
Sometimes I watch a scene I've written, and occasionally I think, "Oh, for God's sake, shut up."
As his campaign marches toward Cleveland, [Donald] Trump drawing more protests, too. Check out this scene from Arizona yesterday. The road to a Trump rally blocked. And there are new questions overnight about how Trump and his supporters are dealing with those protests.
I knew the basic outline of the novel [The Dissemblers] and would write whatever scene of the book I felt particularly excited about at the time.
At the end, I cobbled scenes all together and smoothed out the transitions as much as possible. Incidentally, I would not recommend this approach to writing a book, and will probably not write that way again!
The industrial revolution took the father out of the home and put the kids in school. And then everyone had their own little scene.
We [ with Emilio Estevez] asked if we could take some things [ in Breakfast Club] that weren't in the shooting draft, but from earlier drafts, "Can we maybe use this?" And Hughes was very amenable to all that. And there was some stuff that I liked, and I said, "How about this?" And he went, "Well, we'll check with Molly [Ringwald]. Those scenes are with her. And if she likes it, fine." So it was just wonderful. It was great.
I called Nic Pizzolatto and he said, "No, no. You're in it the whole way through." That was fun to shoot [in The Lobster]. I had a few scenes in that show that were some of my favorite all-time scenes to be in.
I personally like a little rehearsal, not if I'm gonna have a super emotional scene you wanna have it be a fresh thing.
As someone who was like a chief spokeswoman for [Donald Trump] and his campaign manager, it wasn't always relevant to what Americans out there were telling us at rallies or telling pollsters behind the scenes concerning them.
My first day on set [Bad Santa 2] was with Billy [Bob Tornton] and it was a sex scene in a Christmas tree lot and you know in order to make it great for the audience you just have to go for it! It was our sort of our icebreaker. There is something very freeing and fun about just playing make believe and it's just over the top and hilarious so you just go for it.
It's hard to top what you see in the film, they were just such a great group of people to work with and we all hung out in between scenes and I got to know everybody a little bit.
We saw The Man From La Mancha, and I remember there was a scene where the woman's skirt fell off, and I got embarrassed and excited at the same time.
I wanted to watch the women interacting with [Warren Beatty], which takes he chose, and how the actresses were reacting in scenes with him.
In movies, you just see somebody close their eyes, and you go on to the next scene.
What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.
I want to see more women behind the scenes.
I began to see, again and again, stories that were first confusing and second where the emotional impact was muted because the big scene came before the explanation of what was going on. There was a reverse chronological order as well as a concealment of what exactly was going on. I think often that comes out of the fear of being boring, and sometimes I think it's just an attempt to seem clever.
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