I think it's very hard to be naked in a scene and not be upstaged by your nipples.
I grew up being educated by Sesame Street and gained a sense of humor from The Muppet Show. I'd give my right foot to be able to do a scene or two with the Muppets.
Young people today are flooded with disconnected images but lack a sympathetic instrument to analyze them as well as a historical frame of reference in which to situate them. I am reminded of an unnerving scene in Stanley Kubrick's epic film, 2001: A Space Odyssey, where an astronaut, his air hose cut by the master computer gone amok, spins helplessly off into space.
What characterized the whole punk scene for me in 1977 was there was no racism or sexism. It was an anarchy of -isms, and a matter of abolishing it all.
If the Constitution was a movie, the Preamble would be the trailer, the First Amendment the establishing shot, the 13th the crowd pleaser and the 14th the ultimate hero scene.
The entire behind the scenes of Saturday Night Live are all Canadian.
When you're accustomed to doing stand-up, so often you're the only person onstage and it's all your thing. It's very gladiatorial. Obviously, when you're in a scene with somebody, you're supposed to listen and react - and that's a bit of a transition.
Usually you'd do the summer scenes in the winter. So you're out there with a T-shirt and hope nobody sees your air that you're breathing out. We put ice cubes in our mouth to stop that from happening.
I struggle to watch myself in any scene, to be honest. What's done is done. I wish I was able to watch myself, as it would really help me develop as an actor. But I'm not brave enough. It's a difficult thing to do - looking at yourself as this utterly different person on a screen.
The camera does not know what it takes; it captures materials with which you reconstruct, not so much what you saw as what you thought you saw. Hence the best photography is aware, mindful, of illusion and uses illusion, permitting and encouraging it - especially unconscious and powerful illusions that are not usually admitted on the scene.
The scene isn't one of perpetual death but of life circulating within itself.
Scenes change while shooting. Nowadays, while you're shooting the movie, you're cutting at the same time.
There were some times when we did the winter scenes in the summer, and I had to wear that silly fur coat. Oh, my Lord! I was perspiring!
After my final Breaking Dawn scene, I felt like I could shoot up into the night sky and every pore of my body would shoot light. I felt lighter than I've ever felt in my life.
There's a word the teabaggers have wanted to use since Obama came on the scene, but they can't because it's not the 1950s. They would love to say this word. It begins with an N and ends with -er, and it's not "nation-builder."
When you say documentary, you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. You see, art is really useless, and a document has use. And therefore, art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction.
You think you photograph a particular scene for the pleasure it gives. In fact it's the scene that wants to be photographed. You're merely an extra in the production.
I tell you what really turns my toes up: love scenes with 68-year-old men and actresses young enough to be their granddaughter.
You have to write a song around this specific character or to enhance a specific scene. A lot of other craft goes on.
Just to be seen strolling to or from a helicopter on the White House lawn, shouting an evasive answer to Sam Donaldson, must seem to the Reagans not quite satisfactory enough of a 7 PM presence, and this inane scene certainly galls the press.
I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.
Sometimes the scene is a sad scene but you have to play it with a laugh to find out that that doesn't work or that there's really a part of that in it, and that's what rehearsal is for, to take that time.
It's not like we were forced to do something we didn't want to do. I mean, when you see that scene you'll realize that we're really lucky that the weather came at us because now it has a lot more meaning that wasn't automatically there. There's some sort of undertones that wouldn't have existed had we shot it outside. So we got lucky on that and what we try to do is take whatever obstacles come our way and make them work in our favor.
I don't walk around talking about my life and spouting my philosophy to people I don't know. I mean, if I get to know them, I'll talk for hours. I guess I like a lower-key scene.
The only episode which was completely my idea was for Mitch Pileggi, the actor who portrays Skinner, the Assistant Director of the FBI. He appears often in the series, but only for a few scenes. You know virtually nothing about him. I wanted him to have an episode that was his alone, so I wrote Avatar for him. He even has a scene that's pretty . . . hot [knowing smile]. He was very happy.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: