Last Saturday night I was in a club on the South Side of Chicago listening to live rock music and talking to a guitar playing veteran of the music scene in the city. He looked and talked like the musicians that I recall from my childhood; he was a th...
Don't raise your club so high; it will only fall on your head.
But I know nothing; my future is a wide-open vista, leading to an unknown country - The Rest Of My Life.
I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.
I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.
He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.
Without going into too much detail, the end of my major action scene, after the climax of the scene, there was one little change that I suggested regarding the way things should turn out. It was in the detail of the tears of blood.
And that's why I chose on purpose not to have a death scene. We've seen them in a million movies and it's too much like cranking the tears out. I didn't want that scene.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowi...
If somebody came up with a really good idea, everyone would back it. Especially when we did the show, we had a real dedication that, if you were in somebody else's scene, everyone worked their hardest to make that scene good.
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.
However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.
I did this scene in 'Lars and the Real Girl' where I was in a room full of old ladies who were knitting, and it was an all-day scene, so they showed me how. It was one of the most relaxing days of my life.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
There is one confrontation scene toward the end of the picture. In the middle of the scene, I thought, That's Sean Connery! I don't know how else to describe Sean Connery. I still feel that way.
There was a scene cut out of 'Big Fat Liar' (2002) where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.
I'm such a private person, and sexuality is such a private thing. A sex scene is much harder than a fight scene. It's one thing to say, 'Kick higher,' but 'Kiss harder' - that's just crazy.
In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.
'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.
The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.
