If somebody came up with a really good idea, everyone would back it. Especially when we did the show, we had a real dedication that, if you were in somebody else's scene, everyone worked their hardest to make that scene good.
I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.
However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.
I did this scene in 'Lars and the Real Girl' where I was in a room full of old ladies who were knitting, and it was an all-day scene, so they showed me how. It was one of the most relaxing days of my life.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
There is one confrontation scene toward the end of the picture. In the middle of the scene, I thought, That's Sean Connery! I don't know how else to describe Sean Connery. I still feel that way.
There was a scene cut out of 'Big Fat Liar' (2002) where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.
I'm such a private person, and sexuality is such a private thing. A sex scene is much harder than a fight scene. It's one thing to say, 'Kick higher,' but 'Kiss harder' - that's just crazy.
In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.
'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.
The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.
The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.
When you act a scene with Sidney Poitier, he listens intently to every word you say. You can feel your words hit him. He makes the scene utterly real.
It's just really, really beautiful. Each scene is one long 15 minute take without cutting. My scene is with Robin Wright-Penn so I'm pretty excited about that.
And in the middle of one of those scenes, I suddenly felt my heart just open: it was overwhelming, to the point where I got teary-eyed. Never would I have thought anything like that could happen in a love scene.
When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.
To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse - we've got these two actors, we want to see them naked, so let's bring in the music and the soft light.
London is completely unpredictable when it comes to weather. You'll start a scene, and it's a beautiful morning. You get there at 6 in the morning, set up, you start the scene, start shooting. Three hours later, it is pitch black and rainy.
A lot of times, the choice of the right song will save a scene. Or there will be a scene that's a little flat and you put in the right song and somehow it just comes alive.
I'd get into a room and disappear into the woodwork. Now the rooms are so crowded with reporters getting behind-the-scenes stories that nobody can get behind-the-scenes stories.
