TV is so different from the movies. It takes a lot of stamina because you work such long hours. It is really challenging. You are learning the next day's lines while you are shooting today's scenes. I found courage I never realised I had. I hope to do more.
As long as I'm around the cats in the hip hop scene, they'll throw me a track and I'll write a rap over it.
I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.
I'm always surrounded by good-looking guys, like Zac Efron, so I have to be with someone who's not going to get jealous about any of that, or when I'm kissing somebody in a scene.
I'm still a little girl in Hawaii, I have the same friends I had when I was a kid who love me for who I am - not what I do. I never got caught up in the club scene or took wrong roads.
I believe I'm doing the right thing in trying to step away from that and to take chances and work on little independent films and do stuff like that wild dance scene.
Remember the first time you went to a show and saw your favorite band. You wore their shirt, and sang every word. You didn't know anything about scene politics, haircuts, or what was cool. All you knew was that this music made you feel different from anyone you shared a locker with. Someone finally understood you. This is what music is about.
When Scorsese shoots a violent scene, it's very uncomfortable - it's not like watching 'Rambo.'
I never think about Wall Street - why should I - but to go down there so often while filming 'Working Girl,' to become acquainted with this whole different world, and to find out what goes on behind the scenes is so interesting. There's so much of the city that you don't really bother to investigate. Ahh... New York.
Greater than scene is situation. Greater than situation is implication. Greater than all of these is a single, entire human being, who will never be confined in any frame.
The way a musical can make us feel is unlike anything else, in song and particularly in dance. I think people fly through plate-glass windows when they get shot because movies don't have dance scenes any more. This is what we do instead.
I will walk out on a scene if it's all lit and ready to go but it's not happening.
The so-called commercialism includes elements like story, plots, rhythms and large big scenes.
I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn't hold up - it's too much plot, audiences just didn't want to hear about it.
I've worked with actors who tell everyone what to do in the scene - that makes me go pretty atomic.
When Robert Benton was doing the movie 'In the Still of the Night,' I'd choreographed the auction scene and supplied the paintings and had a bit part - I was bidding against Meryl Streep.
Cyberattacks have become a permanent fixture on the international scene because they have become easy and cheap to launch. Basic computer literacy and a modest budget can go a long way toward invading a country's cyberspace.
I've been told my old city possesses a 'thriving arts scene,' whatever that is; personally, I think artists should lie low and stick to their work, not line-dance through the parks.
In the days that follow, he begins to remember things about Moushumi, images that come to him without warning while he is sitting at his desk at work, or during a meeting, or drifting off to sleep, or standing in the mornings under the shower. They are scenes he has carried within him, buried but intact, scenes he has never thought about or had reason to conjure up until now.
The scene I had just witnessed (a couple making love in the ocean) brought back a lot of memories – not of things I had done but of things I had failed to do, wasted hours and frustrated moments and opportunities forever lost because time had eaten so much of my life and I would never get it back. I envied Yeoman and felt sorry for myself at the same time, because I had seen him in a moment that made all my happiness seem dull.
Yet Byron never made tea as you do, who fill the pot so that when you put the lid on the tea spills over. There is a brown pool on the table--it is running among your books and papers. Now you mop it up, clumsily, with your pocket-hankerchief. You then stuff your hankerchief back into your pocket--that is not Byron; that is so essentially you that if I think of you in twenty years' time, when we are both famous, gouty and intolerable, it will be by that scene: and if you are dead, I shall weep.
No! I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous— Almost, at times, the Fool.
There were always in me, two women at least, one woman desperate and bewildered, who felt she was drowning and another who would leap into a scene, as upon a stage, conceal her true emotions because they were weaknesses, helplessness, despair, and present to the world only a smile, an eagerness, curiosity, enthusiasm, interest.
Remember the great film with Bette Davis, All About Eve? There's a scene after the scheming Eve steals Margo's role through trickery & then gets this magnificent review. Margo of course is effing & blinding all over the place. And crying. Her director rushes into her house, puts his arms around her & says, "I ran all the way". That's what I want.
Apart from the faint odor of ink that pervaded the scene, it might have been real.
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