'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.
I learned from an early age that my heritage, my love for people, and my desire to be a vehicle that can be used through my voice, that my expressions and actions can transport a person to experience a scene from the past, present and future.
Just as the calm unruffled lake, mirrors the beauty of a scene, I would reflect to those who read, the joys of love and life serene".
In The Touch, the love scenes are the same as they were in The Thorn Birds or anything else I've ever written. I find a way of saying that either it was heaven or hell but in a way that still leaves room for the reader to use their own imagination.
I love scenes that are just emotional give and take. By the same token, action sequences are great to do. They have their own unique demands and requirements. So I take it as it comes, and hopefully you can get a good balance of all of that stuff.
I went swimming the other day and my wife was watching and she said, 'You know, it's funny, it's when you've got no clothes on, no one recognizes you.' I said, 'What are you saying? That I should do more love scenes?'
In Rio Bravo when Duke makes love to Feathers, the scene dissolves to the next morning where we see him putting on his vest and almost humming. It was subtle, but you knew what happened. Give me a towel and some blankets any day!
I moved to Los Angeles, and 'The Office' became successful, and the charity/cocktail party circuit is really not my scene. But I played golf, and I started getting invited to charity golf events, and I just fell in love with the game ten-fold, and at...
On my own or with a friend, I'm a shopaholic, and I particularly love the cleaning aisle in the supermarket. But when I'm with my husband, I'm shop shy because he can't bear it. It always ends up with us making a huge scene on the High Street and the...
The process of doing films is not my favorite, but I love television. Television is a quicker turnaround. You shoot more during the day, which makes me feel more productive. It would be like, 'I did five scenes today and ten pages.' That's television...
