I don't know which other actor has done as many hot scenes as I have. I pretty much have the monopoly in the bed scene market in Bollywood.
I'll usually see a scene in my head, playing like a movie trailer. After I've written that scene, everything takes off from there.
The romance stuff is easy. A sex scene... that's hard, because you don't know what to do. Those scenes are awkward.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
The funniest thing happened in one of my first scenes. In the beginning Emma was really arrogant and punk and in every scene she would slam the door when she walked in or out.
Nirvana was like that- Nirvana was like the only band to come out of that- it was like the same thing, Seattle was like this whole scene and it was like this big scene that was thrust upon America.
To some extent at that time, we injected rock and roll into that scene- we played loud and that was a huge turning point for that scene. We were involved in playing with all those people.
Almost every scene, I re-think as I'm about to start drawing it, and at least half of the time I'm changing dialogue or whatever, or adding scenes or different things.
I had a scene where the chair was meant to slide off the table, but do you think it would slide off? No. We were running out of time and we had to get these scenes done urgently.
People in Philadelphia are a world apart from New York. They're very different from people in the New York scene. The New York scene wants your visibility and wants your money.
I'd like to be played as a child by Natalie Wood. I'd have some romantic scenes as Audrey Hepburn and have gritty black-and-white scenes as Patricia Neal.
I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.
When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.
The joy of 'Crash' was that it was all about the work. It was my first real part. Before that, it was a line here and there, maybe a scene. 'Crash' was five scenes, a beautiful arc, a little vignette of my own. It really meant something.
They think something's gone wrong, but in Don't Look Now, for instance, one scene was made by a mistake. It's the scene where Donald Sutherland goes to look for the policeman who's investigating the two women.
If you have run out of gunpowder, use your gun as a club.
This club is for members only. But once you join, membership lasts for an eternity.
You can make a text mean anything, especially if it’s old and full of ambiguities.
Loe tinggal sendirian di dunia yang kejam ini? Keren! That’s punk, dude!
After fight club you're so relaxed, you just cannot care.
Dreaming is the poetry of Life, and we must be forgiven if we indulge in it a little.
