When I'm on an adult set and I'm in a scene, I am myself. I'm not acting. I am playing to the camera, definitely, but I am myself.
To return after long years of painful absence to some place which has been the scene of our former joys, and whence the force of circumstance, and not choice, has driven us, is oppressive to the heart.
I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.
It's quite nice coming off doing a dark, upsetting scene. It's a relief that that's over with, and then you can get back to happy old Sophie.
I don't do the L.A. scene. I stay focused and very myopic. I don't feel I need to prove myself or be in people's faces, especially in this town.
In 'Dark Skye,' I rewrote every one of the Pandemonia scenes over and over before I was happy with them - hundreds of pages are now sitting in a folder called 'Cuttings,' never to be read. Ouch!
I have to do so many scenes cooking that I wanted to learn how to chop like I know what I'm doing and do certain things around the kitchen that look right.
I try not to do scenes a certain way, because then I become conscious of it, and it dosen't come off as realistic. I try to make it so that I'm not really aware of what I'm doing.
We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.
With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.
The scene was not a happy one yet we looked upon it in the cold stoical spirit of a soldier; a slight chilling pang and then a return soul and body to the enemy before us.
I've got a very behind-the-scenes personality. I don't know how I became a performer. I like to stay discreet, out of the public eye, very low-key.
I am extremely lucky that I have a husband who is so supportive. He's not in the slightest bit jealous or worried about the things I do in certain scenes.
For me, the more talented the actor is that I'm working with, the easier my job is because the circumstances of a scene are easier to believe when the people around you are in the moment just as much as you are.
I heard that the same thing occurred in a scene in Alien, where the creature pops out of the chest of a crewman. The other actors didn't know what was to happen; the director wanted to get true surprise.
I think the most surprising thing about the Olympics would be the amount of interaction and partying that goes on behind the scenes. They have nightclubs at the Olympic Village. It's like college all over again.
I try not to think about any of the production side of things. If you do, you tend to get unfocused and distracted. I just try to think about the character and the scene and what I'm doing.
'Boardwalk' has kind of exposed me to a different demographic. And it upped my skills in terms of the speed with which I can prep a scene, and I'm excited to apply that.
The Kiss scene was attempted three times. The first was in a peculiar spot of the fort on the ground level. It felt forced to me, and I knew right away that, in spite of what others were saying, it was dead wrong.
The weather was turning cold and I remember that Dante was using nothing but natural light as his electric department was away, prepping the scene in the cave. We stayed on that rock for the whole day.
If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.
