The memory of that scene for me is like a frame of film forever frozen at that moment: the red carpet, the green lawn, the white house, the leaden sky. The new president and his first lady.
If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.
I don't get to do a lot of fight scenes on 'Sanctuary,' but I'm a trained fighter; I've been doing martial arts for years and, you know, I'm very active physically; I used to be a circus performer.
The 3D world allows you to engage even more with a film because you're somehow drawn into the landscape or the universe of that scene. Even when it's two people talking at a table, you feel like you're a third party.
On 'Whose Line,' we had six, seven, eight scenes per show, so everything was pretty quick. And there's a lot of games that we just got tired of, like 'Hats' and 'World's Worst' and 'Hoedown' and stuff.
So we were doing this scene, and the kids get 20 minutes a day, um, so, all I had to do was pick him up out of the incubator and take him out, and that was the whole shot.
I began imagining scenes in public which some drunk would come up to me and slap me in the face. Nothing like that ever happened, but I often wonder if I would have turned the other cheek.
I don't really worry about the size of the part much any more. It's nice to have more time to work on the character, and to have big scenes to play. But if there's something playable there, and if it's interesting to do, then that's nice.
Often times people complain about the lack of time in television, but I have to say, you don't have any more time to film in feature films then you do in television. It's just a question of how many scenes you'll be doing in the course of a day.
For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.
It's a very strange experience being on set of 'Breaking Bad;' you never know what's coming next for your character. I feel like I don't even know if I'm going to live through the next scene I'm in. It's exciting to work on.
It is very, very difficult for a playwright to write a scene in which a young man has his first deep experience of sex with a girl whom he found immensely attractive, is fully satisfied by this event and gets up and blinds a lot of horses.
Food as a hobby used to be an elite pastime, and it has become something that is totally ordinary for people of every background. In that way, we see the growing up of the American food scene: that it's okay to be a regular person and be really into ...
In a way, as an actor, you do all the preparation and then you want to forget it and just play the scene. As a director, you can't forget it because somebody will remind you that you forgot something. But you can know your plan well enough that you s...
I took myself out of the business to study film at NYU and the School of Visual Arts. I grew up on movie sets and was fascinated with the camera and behind-the-scenes work. I felt it would help my career as an actor if I knew all aspects of film.
I like acting for myself as a director. I act and I know that I'll have a chance to have some say in what gets used and that I'll be able to give myself enough takes and be on the same page as myself about how the scene should play.
I never come back home with the same moral character I went out with; something or other becomes unsettled where I had achieved internal peace; some one or other of the things I had put to flight reappears on the scene.
Things go in cycles. It's like fashion, like flares go out then skinny jeans come in, people want something fresh. It's the strongest ever urban scene at the moment and I hope it can progress and keep getting stronger and be the base for something la...
Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don't any longer need to have the relationship between one sce...
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.
As opposed to putting too much confidence in myself, or in an image or a scene or a set of brushes, I really want to allow the oil paint to perform, to show me the things that it wants to do, beyond my imagination.
