I was in a play directed by my father, and I was doing a fight scene, and the choreography went haywire, and I flew backward over a chair and ripped my thumb all the way to my wrist and had to have surgery to sew up all the tendons in there.
Because I actually find the next take after they've controlled it a little bit and repressed the laughter is actually a really interesting take, because that's still going on underneath the surface. That struggle to maintain composure becomes part of...
Once during a taping there was an actor who kept blowing his lines. It happened again and again. Finally Norman Fell came out-he wasn't even in that scene. But Norman came out and you know what he did? He killed the guy with a hammer.
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
All I can say is that with 'The Golden Compass,' I didn't get to make the movie I had planned to make. When I look at the film, at the casting and certain scenes, I'm very happy. As for the final product, I can't vouch for that.
I'm always saying that my books are not autobiographical because they're not. I can't choose any one scene and say, 'Oh, this is exactly what happened to me!' I just use little snippets of things as a starting point!
I moved to L.A. and watched a lot of local television news, and I started to see the burn logos up on the upper right hand corner - On-Scene Video, RMG Media Group, and all these other ones. I just became intrigued with it.
I have no memory for what happens in what books. I don't know when I might remember a scene, but beats me what book it's in because there are 14 of them now.
It means working harder to do the research but I don't really mind - I don't think I have what it takes to chase criminals through back alleys and wade through blood at crime scenes.
I was on 'Desperate Housewives' and that was my crash course on being on national television topless. Also, I do what I can in between scenes: push-ups, a little free weights. I knew going in it would be a big part of the show.
I can feel very brave through all the action scenes in front of the people who are on the set, but when a girl comes close to me my face turns red because I'm so shy.
We began to do little things, have little scenes where we just talked about things that had nothing to do with the plot. In fact, in the beginning, they didn't want us to do that. But as time went on, you see that in so many shows. I think we were th...
I was so grateful to have made 'Into the Wild' before I made 'Speed Racer' because on 'Speed Racer' I was indoors every single day, every single scene, on a green screen. Some of the time, just to pass the time, I would think back to climbing mountai...
Personally, I need to learn every word on the page before I go in and audition. I have not mastered the skill of holding pages in my hand and acting with pages in my hand. I find that every time I have to look at the page it takes me completely out o...
The first time I drew a Superman story was 'For Tomorrow' with Brian Azzarello in 2004. It didn't really hit me how important it was until I drew a scene early-on in the book that featured Superman crossing paths with a giant, intergalactic space arm...
You really have to take your time; you have to know your character and your scene. The line you are about to say comes from the moment right before. It's not what's said, it's what is in between the spaces, it's what's in between the lines; that is t...
On a film set, for me, there's so much more time to process what's going on than there is on a television set. There's more wiggle room to try things and fail and try again and get to the heart of what's going on in the scene, which is really fun for...
[at the murder scene] Inspector Frank Bumstead: What's that make so far, Husselbeck? Six hookers in all? Husselbeck: I believe so, sir. Inspector Frank Bumstead: Give the man an "A" for effort.
[Scene of a beach at sunset] Vincent: [narrating] I was conceived in the Riviera. [Camera pans down to reveal Vincent's parents beginning to make love in the back of a Buick Riviera parked by the beach] Vincent: Not the French Riviera, the Detroit va...
[first lines] Man 1: [voiceover] Quiet on the set. Woman: [voiceover] OK, everybody, quiet on the set. Man 2: [voiceover] Scene 1, take 10. Marker. Man 1: [voiceover] And - action!
[filming a scene with a microphone hidden in a bush] Rosco: Lina! We're missing every other word! You've got to talk into the mike! Lina: [pointing at the bush] Well, I can't make love to a bush!
