The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
Some film actors want to sit back and look at every scene and all that crap. No, you're an actor - tell the story, and when it's told, there's another one to tell.
I'm very well known for hiding my phone in really weird places. I can hide it in a refrigerator during a scene or under that bed. It's pretty bad, but at the end of the day we can all laugh at it.
I couldn't really relate to the fraternity or party scene, to the people out in the mall every day protesting one thing or another. I felt like there was no one I could relate to.
There's no longer any place for a Big Brother in this real world of ours. Instead, these so-called Little People have come on the scene. Interesting verbal contrast, don't you think?
What I particularly liked was that, coming from California and not being involved in the New York scene, I developed my personal way, in my own way, at my own pace.
Nobody really knows who I am, where I came from, what's in my heart, why I believe in the things I believe, what I see behind the scenes and they don't see.
In Birmingham, Manchester or Liverpool there are white gangs that share the same backgrounds - they come from broken homes, completely dysfunctional, mums for the most part unable to cope, the fathers of these kids completely not in the scene.
We continue to be exasperated by the view, apparently gaining momentum in certain circles, that armed robbery is okay as long as nobody gets hurt! The proper solution to armed robbery is a dead robber, on the scene.
I had fun doing it, but acting ain't really my thing. I am more of a production/director type. I would rather be behind the scenes and organizing and putting things together like that.
Writing a first-draft battle scene is akin to real combat—chaos, confusion, and you must keep your cool as you fire word bullets downrange.
Our young people are out on the streets looking for parties, a place to dance, looking for a scene. No institutions are providing them with alternatives, fun things to do that don't necessarily have alcohol at the center.
Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.
I never wanted to be part of any scene, I never wanted to be a part of anything, I wanted to do my own thing. Those are the lessons I learned from punk rock.
Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.
Now, what is it which makes a scene interesting? If you see a man coming through a doorway, it means nothing. If you see him coming through a window - that is at once interesting.
I remember the first film I did, the lead actor would, in between scenes, be reading a newspaper or sleeping and I'd think, 'How can you do that?' But it's so exhausting, you can't be 'on' 12-14 hours a day.
Punk rock really came out of N.Y. as a philosophy before the groups were ever recorded. I had a kind-of intellectual interest in the idea of creating a new scene that could be a grassroots thing.
I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.
My parents always instilled in me this feeling of wanting to be a normal person. I never moved out to L.A. as a kid and got into that scene and that whole thing that happens to kid actors that's the reason they go off the deep end.
I'd be lying if I said I never think about my female fans in certain shots and certain scenes. Like, when I'm topless, I might think: 'This one is for the ladies.'
