I'm definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers.
They were looking for actors - real actors - who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.
In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.
When I don't know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don't usually come up with a similar kind of thing.
I've always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really.
It's a weird scene. You win a few baseball games and all of a sudden you're surrounded by reporters and TV men with cameras asking you about Vietnam and race relations.
I think as long as there are folks on the fringe who want to make movies, the indie scene will still be around. I do think it's getting harder to get them seen though.
My grandmother, when she looked at American movies, she said, 'They're all the same. In the first scene somebody shoots somebody and then everybody makes phone calls.'
Movies have to handle time very efficiently. They're about stringing scenes together in the present. Novels aren't necessarily about that.
When you do a slasher film, you find yourself repeating the same kind of scene, then it becomes not very challenging and not very interesting.
I want to go behind the scenes as well as on screen. I think you have to make your own destiny in this world.
I'm involved in some action scenes, so they'll train me for that. I'll be working with my acting coach to prepare for my character.
The Egyptian military plays positive and negative roles in Egypt, but the most significant single thing it did under Mubarak was to guarantee an Islamist victory once he left the scene.
When I first came to New York everybody on the scene would treat me like I could play, but I couldn't.
In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.
Sometimes, there's a preconceived notion of how a scene or how a work should be delivered. And I see young performers sometimes try and deliver that, and it's not really true to their voice or who they are.
Mostly I work really unconsciously, and I think if the scenes are really well written, which they are, and if I just throw myself into it, I don't really think about it.
Some of my earliest work was in comics. I tend to think in pictures and always like to write scenes possessing the dynamic you find in comics.
I'm sticking my tongue out in scenes to try to make that work in 3D. I'm thinking I'll try to get my tongue all the way out to the second row of the audience.
If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.
Not only these were new kinds of stories, they were being told with a new kind of formal structure. [...] The result was a storytelling architecture you could picture as a colonnade - each episode a brick with its own solid, satisfying shape, but als...
