Patty Griffin is iconic, and there's no other word to really describe her. She is iconic for a lot of people - not only for me but for a lot of fans. Her voice is one of a kind, and she's such an important figure in the American music scene.
I grew up with classical music when I was a ballet dancer. Now when I have to prepare an emotional scene, to cry or whatever, I listen to sonatas. Vivaldi and stuff. It's just beautiful to me.
An Emraan Hashmi film has come to guarantee certain ingredients: An intense, grey central character, a beautiful girl - if he gets lucky, then two - couple of kisses, a few bold scenes, fabulous music and a climatic twist.
You rarely find someone who sings really well and who produces really well; it's a problem, and I just think it's a missing link in the music scene.
You can't give up something you really believe in for financial reasons. If you die by the roadside - so be it. But at least you know you've tried. Ten minutes in the music scene was the equal of one hundred years outside of it.
You know the stories of a woman saying to Churchill, 'Sir, you're drunk,' and he said to her, 'And you're ugly, but in the morning I'll be sober.' I was really excited to do that scene, but I did get slapped.
In the liberal remake of 'Casablanca,' the police captain comes upon the scene of the shooting and orders his men to 'round up the usual weapons.' It's always the weapon and never the shooter.
I don't get it when you get so much openness about the way movies are made, and the special effects and the behind-the-scenes stuff and all of that. I can't help but feel like this reduces it a little bit.
My favorite scene in all of movies is Gregory Peck in 'To Kill A Mockingbird': You see him where he's on the porch, and his face is almost completely obscured. I don't want to see his face.
I use to watch like maybe three or four movies, five days out of the week. I was a movie buff, but I really didn't know what it was like behind the scenes, or the whole political process of it.
Jake Sully: [in unfinished scene, DVD bonus material; about the Na'vi] They didn't even have a word for 'lie'.
There was a fascinating handmade poster scene in Chicago in the '90s, and I became friends with many of the artists; the posters were often more impressive than the bands.
I always wanted to be an anchorman, but after college I wound up working behind the scenes at CBS News for 10 years.
I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.
In Paris we have bistros, then we have fine dining. In London, you have a very contemporary scene with mixed influences.
Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
I haven't seen the film yet because I just got in from London. In the scenes where the two characters are bantering with each other, it is like bobbing at the net in tennis.
When Robert Benton was doing the movie 'In the Still of the Night,' I'd choreographed the auction scene and supplied the paintings and had a bit part - I was bidding against Meryl Streep.
Language cannot describe the scene that followed; the shouts, oaths, frantic gestures, taunts, replies, and little fights; and therefore I shall not attempt it.
I'm sure every film it's going to be like, 'Okay, this is the scene where your shirt gets ripped off.' I'll never be able to keep my shirt on.
I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.
