I was always intrigued with European cinema, and hated most American cinema. I didn't like the one, two, three - boom! style, with a neat and tidy ending. That was never my scene.
I am simply not interested, at this point, in creating narrative scenes between characters.
I am so excited to extend myself behind the scenes as a designer and to - as my father puts it - finally have a real job.
My instinct was that it was Sidney's childhood in the Bahamas that gave him the fearlessness to fight racism. So this documentary was a kind of rounding out of what had begun in that scene in In the Heat of the Night.
I don't know Gov. Palin. I've certainly seen her, since she came on the scene, you know, running with John McCain.
Acting with creatures that aren't there is kind like acting with an actor who refuses to come out of his trailer. You still have to go on and do the scene.
Steve Carell is the most spectacular ad-lib improviser ever. And just doing a scene with him, it's just one incredible topping himself on every take.
I was through as a manager. I did become involved late in the 1968 campaign at the national scene at the last minute. But I was through as a manager, and I've stayed through, incidentally.
If you write a bunch of different characters with a bunch of different opinions, you end up with these long scenes of everyone standing around talking.
I can't tell you how much we laughed on the set to have Alec Guinness in a scene with a big, furry dog that's flying a space ship.
I try to use all of my senses when describing a setting, and try to think of everything that would impact a character in any given scene.
Yeah, what happened was Universal wanted one of the characters to be nice so they chose me so there was a scene where the girl was tied to the bed and I let her go.
You don't want me to sing. I could do a really bad karaoke scene, if I had to, but I'd probably choose to rap.
L.A. interests me, the whole band scene and relaxed carefree feel, but it does not mean you have to dress like a hippy.
What impresses me is the young actors with terrific talent arriving on the scene. They'd have blown us all away in the old days. Guys like Brad Pitt.
I did my first Broadway play, 'The Vertical Hour,' in 2006, with Julianne Moore, who's always been one of my favorite actresses. My scene was with her, so it was nerve-racking.
The Beatles were no trouble... lots of girls. The Stones were black-jacketed guys, a rough crowd. A whole different scene between the Stones' black leather jackets and the Beatles' pretty-dressed girls with the ribbons in their hair, teenagers standi...
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
I don't really ever think about whether or not I like the characters I'm playing. I'm more into the minutiae of their behaviour or what they're doing in a certain scene.
We've rewritten entire scenes and had them animated twelve hours before the show goes on the air. It's not fun.
