[from deleted scene] Nash: Perhaps it is good to have a beautiful mind, but an even greater gift is to discover a beautiful heart.
In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.
When I was a 21-year-old intern at CBS, I was told I had crossed eyes and shouldn't try to be on air. That's when I decided I was going to be behind the scenes.
There's always the pressure on the director of how to transition from one scene to another, especially when it can really be oblique on 'Game of Thrones.'
Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.
So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.
It was a scene in the sense that we were all close and we all knew each other before the different bands had really formed. We used to rehearse in the same place.
I'm always surrounded by good-looking guys, like Zac Efron, so I have to be with someone who's not going to get jealous about any of that, or when I'm kissing somebody in a scene.
As an actor, you can steer a scene in another direction by playing it a little differently. And honestly? I like being an actor, and I want to keep having a career.
I think somewhere along the way I realized, 'O.K., no one's gonna care about a chubby Jewish dude rapping.' I realized I'd be better behind the scenes.
Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
After a plane or train crash, the National Transportation Safety Board dispatches its experts within two hours. The investigators in their familiar jackets take charge of the scene, secure evidence, follow leads.
E-Verify is a very commonsense reform that we can implement here in the state of Florida. I think I share a lot of Floridians' frustration that it didn't pass and a lot of the politics that were taking place behind the scenes.
I tell students they will know they are getting somewhere when a scene is so painful they can just barely bring themselves to write about it. A writer has to draw blood.
I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.
Gradually the live TV scene simmered out, replaced by film, and that took place in L.A. So many actors left New York.
In television, you are of necessity working in bits and pieces and scenes, and things are out of order, and you never can have the same sense of how will this look when it's all put together, what will the effect be.
On 'Angel' I got to work a lot with Mike Massa, who was David Boreanaz' stunt double, and Mike would let me do most of my stuff by myself. I did almost all my fight scenes by myself.
I do like to work on a Marvel method, so if I've got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.
The title always comes last. What I really work hard on is the beginning. Where do you begin? In what tone do you begin? I almost have to have a scene in my mind.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
