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I mean that much more than wiser beings from beyond the stars bringing us enlightenment or death or salvation, we are likely to find ourselves the wisest beings on the scene.
You don’t have the slightest idea of what it means to write a scene and a character in the English language, with images and words chock full of received meaning.
I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He's the most incredible scene partner I've ever had.
I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole
When you suddenly appear on the scene and you are the new face, everything centers on you. I experienced this in my mid-20s and I found it rather hard.
...let the emotional weight of a scene rest on the dialogue wherever possible. This is the easy way to avoid overinterpretation, which seems to be what turns a scene from sympathetic to sentimental.
I just did a part in 'Sin City 2.' I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me... I'm so excited about that I think it's gonna be very cool.
Every book has got its challenges. You run into a plot point that you can't figure out, or a scene that you struggle to write and have to write 50 times.
I love when scenes are intentionally and meticulously planned so we feel like this is a handcrafted scene that only works in this moment and this movie, and that's the way I approach my films.
For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they’ll do in any scene you put them in.
The good thing about having chemistry is, when you get to the improv section of a scene, you've got somebody to feed off. It can go on and on and on, and the sky's the limit.
After my final Breaking Dawn scene, I felt like I could shoot up into the night sky and every pore of my body would shoot light. I felt lighter than I've ever felt in my life.
We start with a rehearsal where the actors kind of bring what they think should be in the scene. But we film everything, and we use cuts of this first take, also.
What about good small roles for women? I've told my agent, if there are two great scenes in a film, I don't care, if it's something with that great edge to it.
We goofed around a lot and acted silly. It was great working with Mark Wahlberg too. Some off scenes I had with him I was terrified to do, but he was great.
As actors we always say that once the person in a scene gets what they want, the scene is over. It's resolved. But life is never resolved - you're always in the process.
Well, it's more of a sane life to be part of an ensemble! I find that the work can be more specific too and I have to really make sure I know where I am in the story because I'm not in every scene.
Onstage I'm the one in control - I'm not at the mercy of how an editor chooses to put the scene together later. I can do things onstage that I would never do in real life. It's very freeing.