I haven't had to do too many, or many explicit ones. Everybody feels weird, and everybody is trying to tiptoe around and make you think they're not there. The last time I did a love scene, I couldn't keep a straight face.
I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.
During one performance of 'Les Miserables,' the barricade didn't leave the stage, so we had to actually end up finishing the second act with the barricades on the stage, which was very strange... doing the love scene on the barricade.
Comedians like to see people smile. With acting, I love giving people a feeling, an emotion. I like to give people a feeling. When they come away from my scene, I want them to think.
When I need to think of, like, a peaceful scene or something, I think of my back garden in summertime. And whenever I hear the lawnmower next door, I always think it's really peaceful.
It is the custom on the stage in all good, murderous melodramas, to present the tragic and the comic scenes in as regular alternation as the layers of red and white in a side of streaky, well-cured bacon.
Actors know, with me they aren't going to be allowed to rehearse a scene for a couple of hours and then get away with doing 25 takes before we get it right. So they come with their full bag of tricks.
I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.
Julie Dryfus and I were both afraid of heights and in one scene, I had to be quite high up and I was rather terrified, but Julie was very kind, encouraging me and we got through that together.
If I said God is "outside" or "beyond" space-time, I should mean as Shakespeare is outside The Tempest; i.e. its scenes and persons do not exhaust his being.
The best way of writing sex scenes is to do the first draft, orgasm, and then start editing. You can be objective post-orgasm.
Artistic self-indulgence is the mark of an amateur. The temptation to make scenes, to appear late, to call in sick, not to meet deadlines, not to be organized, is at heart a sign of your own insecurity and at worst the sign of an amateur.
If the Constitution was a movie, the Preamble would be the trailer, the First Amendment the establishing shot, the 13th the crowd pleaser and the 14th the ultimate hero scene.
The thing is, you never know with any movie how it's going to turn out. It's always a mystery - you'll do pages and pages of scenes that will never make it onto the screen.
If you got the DVD you can see that George Lucas has taken that person out, as well as the voice, and we shot this scene when we arrived in Australia during the actual filming of Episode 3.
I don't feel comfortable with violence, and I'm not sure that I film violent scenes properly, and it's something I'm reticent to do, and yet violence is sort of in all of my films.
I never liked the bar scene. I tried to like it. I would give it a try every three or four months. I'd think, tonight I'm going out. But I never met anybody in that circumstance.
If you gather a lot of stuff, then you write it, write in scenes with dialogue. Somewhere in the middle, rising from all this research like strong metal towers, is your opinions.
I try to do a lot of research beforehand so I know where I want to go with a scene. I try not to get too stressed about it, because I find that's the worst thing.
When there's no technical problems, if you did the right casting, and the scene is well written, the actor will give you a strong performance with his intuition right from the start.
