Most of the time, I get auditions for deaf characters where the scene has them communicating in really convoluted ways, like reading lips from across the room when the other person's back is turned or having other people parrot what they say.
On 'B&B,' we shoot so fast and eight episodes a week, so we have to always be on our A-game. There's really no time to make certain adjustments. We usually shoot a scene in one take, maybe two or three only if needed.
I started using Twitter about year after its very early adoption and ended up investing in it around that same time. I'm involved with the Tech scene and companies ranging from Facebook, Stumbleupon and Twitter.
What I do have to get across is the truth of the moment within the given scene. It's my job, as a director and screenwriter, to create the environment in which all those moments will come together eventually.
Dolores Fuller: [arriving for her scenes in "Bride of the Monster"] Well, I see the usual cast of misfits and dope addicts are here.
Deputy Marshal Samuel Gerard: [First lines, said when arriving at the scene of the train wreck] My, my, my. What a mess.
[scene from extended version] Gimli: This new Gandalf is more grumpy than the old one.
Yuri Orlov: [Narraing the sex in the shower scene] Despite the other women, I always made love to Ava as if she was the only one.
Llewelyn Moss: [after finding the drug crime scene] ... Where's the last guy? Ultimo hombre. Last man standing, must've been one.
V: [Quoting Macbeth from Macbeth Act I Scene 7] I dare do all that may become a man; Who dares do more is none.
'La Lupe' is my passion project. I've done it as a one-woman show, but I'm raising money to turn it into a film. It's a story of a Cuban singer who became the Queen of Latin Soul, the first woman on the N.Y. salsa scene.
That is what has happened to the United States in the international economic scene. We have deteriorated into a debtor status so that we are now dependent upon the kindness of strangers. That is not where the world's leading power should find itself.
I started off in England and very few people knew I was Australian. I mean, the clues were in the poems, but they didn't read them very carefully, and so for years and years I was considered completely part of the English poetry scene.
I've been shocked by film actors - 25 and under - having such confidence and cockiness to rewrite a scene. My background is more about the director being in control. It's all about yielding. It's an oddly submissive relationship in which you're mould...
I'm a fan of daytime drama; I totally get it. When we are doing scenes that are romantic or will get the audience riled up, I feel like I'm a fan in the room going, 'People are going to be so mad right now!'
I've done five films directed by women. I did like it. They had qualities, particularly in the romantic tenderness of scenes. I felt sometimes they were a little bit soft, but maybe they were clever to get the guys working the way they wanted them to...
James Franco is a Method actor. I respect Method actors, but he never snapped out of character. Whenever we'd have to get in the ring for boxing scenes, and even during practice, the dude was full-on hitting me.
Science is the greatest creative impulse of our time. It dominates the intellectual scene and forms our lives, not only in the material things which it has given us, but also in that it guides our spirit.
When I'm playing a team sport, it's not about one individual, it's about everyone, from me to the other 23 people who were there, to all the support staff who've worked very hard behind the scenes.
So nonetheless given the importance that was placed on sport in Australia, I wanted to be part of that scene, particularly since I had felt very strongly in my early schooling being marginalised even in the Catholic school.
The interesting thing is that I found scenes which I put together which could appeal to almost every woman, or apply to almost every woman after the war. Falling in love, dancing, marrying.
