I moved to Los Angeles, and 'The Office' became successful, and the charity/cocktail party circuit is really not my scene. But I played golf, and I started getting invited to charity golf events, and I just fell in love with the game ten-fold, and at...
On my own or with a friend, I'm a shopaholic, and I particularly love the cleaning aisle in the supermarket. But when I'm with my husband, I'm shop shy because he can't bear it. It always ends up with us making a huge scene on the High Street and the...
The process of doing films is not my favorite, but I love television. Television is a quicker turnaround. You shoot more during the day, which makes me feel more productive. It would be like, 'I did five scenes today and ten pages.' That's television...
Greater than scene is situation. Greater than situation is implication. Greater than all of these is a single, entire human being, who will never be confined in any frame.
The other guy I dug a lot was Burroughs because he was a smart man already; he learned it through the druggie pool - the street scene of an old aristocratic kind of man.
All I can really say is it's bloodier than hell. In this one I'm going to be much more direct and honest in my description of the actual killings and the crime scene.
I couldn't care less about who sees my bits... My friends asked how I could do scenes like that and not get excited, but it wasn't like that. My bits looked the size of a cashew nut!
Working with Jon Hamm was super-fun because he's a brilliant actor and he's very kind. I would hang around sets for scenes that I wasn't even in because I wanted to watch how he worked.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
Some film actors want to sit back and look at every scene and all that crap. No, you're an actor - tell the story, and when it's told, there's another one to tell.
I'm very well known for hiding my phone in really weird places. I can hide it in a refrigerator during a scene or under that bed. It's pretty bad, but at the end of the day we can all laugh at it.
I couldn't really relate to the fraternity or party scene, to the people out in the mall every day protesting one thing or another. I felt like there was no one I could relate to.
There's no longer any place for a Big Brother in this real world of ours. Instead, these so-called Little People have come on the scene. Interesting verbal contrast, don't you think?
What I particularly liked was that, coming from California and not being involved in the New York scene, I developed my personal way, in my own way, at my own pace.
Nobody really knows who I am, where I came from, what's in my heart, why I believe in the things I believe, what I see behind the scenes and they don't see.
In Birmingham, Manchester or Liverpool there are white gangs that share the same backgrounds - they come from broken homes, completely dysfunctional, mums for the most part unable to cope, the fathers of these kids completely not in the scene.
We continue to be exasperated by the view, apparently gaining momentum in certain circles, that armed robbery is okay as long as nobody gets hurt! The proper solution to armed robbery is a dead robber, on the scene.
I had fun doing it, but acting ain't really my thing. I am more of a production/director type. I would rather be behind the scenes and organizing and putting things together like that.
Writing a first-draft battle scene is akin to real combat—chaos, confusion, and you must keep your cool as you fire word bullets downrange.
Our young people are out on the streets looking for parties, a place to dance, looking for a scene. No institutions are providing them with alternatives, fun things to do that don't necessarily have alcohol at the center.
Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.
