Every time I would say put a baby in every scene.
Companies whose marketing and sales departments are not using the Internet and social media for communication may have the same fate that the dime stores had when Wal-Mart came onto the scene.
I play Edward G. Robinson [in Trumbo], who was a close friend and a co-worker of Dalton's [Trumbo]. They worked together on at least one or two screenplays. A lot of these stories take famous people and show you who they are behind the scenes, which is kind of fun. One of the things about getting to play Edward G. Robinson was learning who the man was away from his movie-star exterior.
When your blood is found at the murder scene, that's the end of the ball game, there's nothing more to say.
I love the resource of the Internet. I use it all the time. Anything I'm writing - for example, if I'm writing a scene about Washington D.C. and I want to know where this monument is, I can find it right away, I can get a picture of the monument, it just makes your life so much easier, especially if you're writing fiction. You can check stuff so much quicker, and I think that's all great for writers.
When you shoot a scene, you remember every moment. You remember when your head went down, your head went up. You don't see little quirks, little eye movements, little lip movements. Once again, you become completely vain when you're watching it in a way that you weren't when you were shooting it. And the vanity, what it makes you focus on are everything that has nothing to do with the scene and everything to do with your own ego.
Each character has their own challenges. The challenge to doing one scene is your whole history of who you are and your relationships, you only have this one shot.
What really concerns me is for Christians to understand the fundamentals of evangelism in a way that is helpful in the contemporary scene.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
It's untrue to say the colors I use are not those of reality. They are real: The red I use is red; the green, green; blue, blue; and yellow, yellow. It's a matter of arranging them differently from the way I find them, but they are always real colors. So it's not true that when I tint a road or a wall, they become unreal. They stay real, though colored differently for my scene.
The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.
I simply know what the actor's attitude should be and what he should say. He doesn't, because he can't see the relationship that begins to exist between his body and the other things in the scene.
I've always played down the drama in my films. In my main scenes, there's never an opportunity for an actor to let go of everything he's got inside. I always try to tone down the acting, because my stories demand it, to the point where I might change a script so that an actor has no opportunity to come out well.
My films have always had an element of immediate autobiography, in that I shoot any particular scene according to the mood I'm in that day, according to the little daily experiences I've had and am having - but I don't tell what has happened to me. I would like to do something more strictly autobiographical, but perhaps I never will, because it isn't interesting enough.
The ways in which acquired savants show up are usually the same ways that congenital, or non-acquired, savant syndrome shows up. They tend to show up in the same areas: music, art, math, visual, spatial skills, and calendar calculating, although calendar calculating probably isn't quite as prominent in that group. They tend to show up quite quickly, or sort of explode on the scene and they then tend to have an obsessive sort of forceful quality about them in the same way as savant skills. So they tend to show up in the same ways.
I did play a dentist in Waiting for Guffman. I wrote the speech at the conference. In the original script, when it got to that scene, it was, 'Thank you very much. Good night.' Literally. I just thought, 'He keeps talking about this speech. The keynote address is the big thing in his life and this is too important to say, "Thank you. Good night." I think we have to see and hear him doing what he does.' So I got together with my dentist and we worked through a few things.
The trouble with normal is it always gets worse, fashionable fascism dominates the scene.
The Clintons are obsessed with money, and they have been since they came on the national scene. I'm sure that both of them since childhood have been obsessed with money. And I mean it. I mean obsessed with not having it when they were young.
All storytelling is kind of that - there's a bit of text that you put pressure on that spits out some desire that a character has and then you follow that. The other part is that every scene raises an expectation in the reader's mind - that's part of its job is to make you look in and be curious.
It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.
For anyone that has ever done a sex scene, it takes on the feeling of learning a ridiculous dance, like the electric slide. It's not a sexy experience.
How stagnant and tepid the whole British political scene is now is just beyond belief.
In the States, you have the First Amendment. People feel the freedom to speak and the right to be heard. And they kind of push the message: "It's a free country." Everybody has the right to say whatever they want to say. But in the Middle East, culture is your guide. You have to ask, is it culturally okay to say something like that? Is it culturally okay, for example, to show a woman giving birth? As Arabs watching such a scene in an American film it's okay, but when it comes to the Arabic context, we're like, "How dare you?" So it's how you present it.
You gleefully say, "I just thought of something!", when in fact your brain performed an enormous amount of work before your moment of genius struck. When an idea is served up from behind the scenes, your neural circuitry has been working on it for hours or days or years, consolidating information and trying out new combinations. But you take credit without further wonderment at the vast, hidden machinery behind the scenes.
I know what war's like. I know what scene's like.
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