I'll fly Away took place in the 50's and 60's in America's South, and there are a couple of scenes where me and my friends are supposed to be skinny dipping with these girls.
It comes down to something really simple: Can I visualize myself playing those scenes? If that happens, then I know that I will probably end up doing it.
I remember one time that I was filming a scene in whych my character rides through Troy on a chariot. I just looked around at this incredible set thinking 'This is the life'.
I love scoring. Putting music to picture is a rewarding challenge and one that relies on interpretation of emotion - as in, what is the pivotal feeling in a scene and which character's point of view is driving it at any given moment?
I love when you get to work with people you know because there's so much more trust, and you're much more willing to be vulnerable in a scene with someone you trust.
Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That's what I look for.
The process of making a movie has expanded in terms of effort and time for the director, doing commentaries for the DVD for example, finishing deleted scenes so they could be on the DVD, and doing things like a web blog.
The lighting is so important. One thing that makes me nuts about the lighting now is that they spend an enormous amount of time lighting the set, the background. But the most important thing in the scene is the actor.
Actually, the camera was never overhead at any time. It was always a side view of me. Subsequently, after the picture was released, I saw some scenes from above and my clothes being pulled-and I think that was added later.
My tutors at drama school commended and criticised my use of comedy in my acting for a long time at drama school. They said I had a tendency to somehow perform the most tragic of scenes in a slightly flippant way.
When I'm composing a scene for the first time, I try to imitate my character. The less critical distance the better - particularly when they're acting badly.
I remember laughing an inordinate amount of time. Setting up scenes that involve ooze coming out basements, or pigs' heads flying through windows is really fun. How could you not laugh?
Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter.
At any given time, there are a lot of million-dollar luxury charter boats cruising around the Mentawai Islands finding the most incredible waves. And yet the people on shore are suffering. The whole scene is wrong. As a surf community, we have to do ...
I think Wilco is going to definitely stand the test of time - no question - and Uncle Tupleo, and the whole No Depression scene, which is now alt-country. I think that's going to be around a long time.
It was a matter of survival for the local people, but it was the most violent scene I have ever witnessed. The people in my group, feeling helpless, were all spellbound and aghast at the same time. I became a vegetarian shortly after that.
When 'The Thin Blue Line' came out, I was criticized by many people for using reenactments, as if I wasn't dedicated to the truth because I filmed these scenes. That always and still seems to be nonsensical.
Harry: And now we wait? Hermione: And now we wait. [they sit down end of scene]
[from a deleted scene:] Neil McCauley: And I am double the worst trouble you ever had.
James Bond: [after a scene with heavy shooting] Are you hurt? M: Only my pride is hurt.
25, 30 years ago, that meant something, they were making some money. And they were doing all sorts of comedy, screaming at the audience, basically crowd control. And then there was the whole urban comedy scene.
