The bright blue sky remained cloudless, and the aquamarine ocean still crashed gently onto the white sand beach, but the scene was suddenly warped. Twisted, as I processed Thad's words.
Just saying an intention and leaving it at that will not necessarily result in an outcome, if there is a stronger, more primal belief behind the scenes.
(D)reams are like that: they go in and out of memories and scenes, but they're never real. They're never real, and I hate them because they aren't.
Wretched game, cricket, keeping romantic youths out in the sun when they should be indoors, applying balm to the foreheads of feverish young maidens.
Most of my stuff before CSI was kind of the jerk boyfriend, so I thought this was one of those deals, where these two have a thing going on, so we had a scene where they make out.
I don't think they're gratuitous with the nudity on 'Game of Thrones.' It's very much part of the world. There's a lot of it, but that's the world they come from. It never is there to distract from the scene or the actors or story.
We pass now quickly from each other's sight; but I know full well that where beyond these passing scenes you shall be, there will be Heaven.
A lot of times when I'm writing lyrics, I just think about insecurities that I might have and turn them into a scene. Some things may be true, and some things may not.
I think the intelligent thing about it is that you have to carefully listen to it all to grasp it, and because I'm not in every scene - colossal disappointment to everybody that it may be - I'm not getting the full picture here today while recording ...
I have a painter's memory. I can remember things from my childhood which were so powerfully imprinted on me, the whole scene comes back.
Every actor I think has got their own number of takes that they like, you know. Some actors like to go all day, you know on the one scene and some actors want to take two takes. I personally like four.
Yes, and there were changes of light on landscapes and changes of direction of the wind and the force of the wind and weather. That whole scene is too important in Homer to neglect.
The real, raw, driven-to-tears type scenes have always scared me since I was very young working as an actor. And to this very day, I get tremendously neurotic making sure nothing is forced or fake.
Movement should be a counter, whether in action scenes or dialogue or whatever. It counters where your eye is going. This style thing, for me it's all fitted to the action, to the script, to the characters.
Just be nice to me while I am doing the scene; that is all. I don't want big cars, I don't want big hotel rooms.
Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.
When I still lived in Manhattan, people-watching was my hobby, and I spent many Sunday afternoons eating up the scene from a window seat at a Starbucks on Broadway.
I think when you get on with the actors that you're working with, even if you do have really intimate scenes, as long as you get on well, and have a bit of a laugh while doing it, then it's fine.
Well the Bombay film wasn't always like how it is now. It did have a local industry. There were realistic films made on local scenes. But it gradually changed over the years.
I think I must have too much to eat, we were doing a scene where we were crawling, and I ripped my trousers. I was very embarrassed. I was sown in, stitched in, quickly!
Some of the biggest changes that have happened are behind the scenes, in the way we produce the magazine. E.g., much of our production has been brought in-house via desktop publishing.
