The wholeness, coherence, identity, which we attribute to the depicted scene [in a photograph] is a projection, a refusal of an impoverished reality in favour of an imagined plenitude.
Even though she's dealing with a scar, Emily just carries on with life. It's not a big deal. While we were shooting the scene, I tried it different ways. I tried it where I was hiding my face, and Chris [Weitz] was like, "Let's try it where she doesn't care," and that's who she is. She doesn't care what anybody else thinks.
I was in the car driving back, after having done a scene where I kill somebody, and I just said to the driver, "I can't talk right now. I'm too emotional." The whole car ride back, I was just crying.
It's hard to keep the energy and the emotion of the scene when they're installing a massive green screen behind you.
I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.
It was really interesting to be editing the film [Trust] in New York and directing the play in Chicago, and one definitely informed the other. The play probably benefitted more because I realized what scenes could be cut, and I cut those scenes from the play.
You always have three movies that you have to reduce into one. You have the screenplay. And then, you do a workshop and you add more scenes. And then, on the day you shoot, there's more action and interaction. It's like a souffle. It has a tendency to just grow and explode, and it's just too long.
I have never been part of a scene. I've always been a bit of an island really, but I am fine with that.
When [Billy] Strayhorn came on the scene, he just blew us away.
I'm not the kind of person who thrives in "the scene." I know that when this is all over, and I'm no longer cool, I'm going to be just as happy because I'm going to be at home.
The thing that impressed everyone when he same on the scene as a 17 year old was he already spoke like a man. (on Michael Owen)
Back then and later on when I was in NEU! and Harmonia I was too much preoccupied with my own music to be aware of the German music scene, let alone following it actively. But changes which were happening with S.o.S. (namely the development of individual ideas and the effort to distinguish from the Anglo- American rock patterns) also helped me recognize other musicians within my immediate vicinity.
Sex scenes are always a little uncomfortable at first.
Even a fellow with a camera has his favourite subjects, as we can see looking through the Kodak-albums of our friends. One amateur prefers the family group, another bathing scenes, another cows upon an alp, or kittens held upside down in the arms of a black-faced child. The tendency to choose one subject rather than another indicates the photographer's temperament. Nevertheless, his passion is for photography rather than for selection, a kitten will serve when no cows are available.
It's quite nice coming off doing a dark, upsetting scene. It's a relief that that's over with, and then you can get back to happy old Sophie.
In any given marketplace, there's a triangle. There's a line of Dior goods at $25,000 that creates the sharp focus you need to sell $100 scarves to every woman. When [Design Miami] Basel popped on the scene, it proved there's a market for the top of the design triangle, which will lead the wide base beneath it.
...I don't see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.
I love doing lesbian love scenes. Before I did my lesbian scenes in Gia, I talked to actresses who said love scenes are easier with another woman than a man. Bound's Gina Gershon and Jennifer Tilly said they'd lie there and discuss the sale at Barney's between takes.
I'm more into MMA than any other sport. I watch a lot of the UFC fights. I have since it first came onto the scene.
I am an owner who prefers to stay behind the scenes and allow my staff to do what they do best.
I kind of build a novel the way marine polyps build a coral reef, it's millions and millions of little precarious bodies stacked on one another. And in my case, that's thousands of minutes I go through to get from one scene to the next and build it that way.
Ma-a-a-n-I'm very excited to put my heart into somethin' that's 100% Swizz Beatz. I usually work behind the scenes, and I did that for 10 years, and now I'm ready for the forefront... and [to] really get the legacy moving to another level.
There's a great rock and roll scene in Sweden. There are many smaller bands like ourselves that are great. Oh yes, there's a band called Eggstone, they're really good, and a band called the Soundtrack Of Our Lives, which is excellent.
I think I began getting really influenced by that whole punk scene around the age of 13 or 14-I went through that whole thing like the shaved head. I was always interested in what people called "the darker side," whatever that was, and the kind of look that you would see in the old horror films. So I let that become more of my persona.
There always should be something hanging unfinished before a scene ends so that there's a reason for going to the next scene.
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