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I find it really awkward to do a scene where I'm supposed to seem like I'm in love.
My mom and dad would take me all over. One night we'd be at the Apollo watching James Brown, and then I'd be at the Joffrey Ballet. It was that kind of scene.
I believe this thought, of the possibility of death - if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong.
So, for the most part, I really like when I read a scene that scares me and makes me sweat a little bit, thinking about doing it. That's usually a good sign to me.
There's something about being there, on the set, in costume, in the moment, where you start to get a feel for the scene, which is not the same as sitting in your office writing it.
I knew I would replay the scene countless times in the years before me, each time thinking of different things I should have said and done. But all I did was walk away without looking back.
I always wanted to play with the sound, but I always wanted to do it in a respectful way, because I never lived in New York and I don't have a real connection to that scene.
A lot of the struggle I had with movies is I really loved moments and tones and feelings in a scene, and I loved creating those, but I never really had great stories to string them together.
To one who has enjoyed the full life of any scene, of any hour, what thoughts can be recorded about it seem like the commas and semicolons in the paragraph-mere stops.
I take the fact that films cost a lot of money very seriously, but once in a while to have somebody say, This is a big scene, take your time with it, is important. That's John Sayles.
My favorite scene in all of movies is Gregory Peck in To Kill A Mockingbird: You see him where he's on the porch, and his face is almost completely obscured. I don't want to see his face.
I don't really ever think about whether or not I like the characters I'm playing. I'm more into the minutiae of their behaviour or what they're doing in a certain scene.
Sitting opposite Steven Spielberg, while he turns the pages of your script and talks about each scene as he goes, is about the best film school you can get.
Yeah, what happened was Universal wanted one of the characters to be nice so they chose me so there was a scene where the girl was tied to the bed and I let her go.
Michael has never cried during a Broadway show. Except in that scene where Tarzan's ape father is brutally murdered. And that was only because he was laughing so hard.
Working with [Kyle Chandler] in the scene was like playing tennis. You work with really talented actors, I think they make other actors look really, really good.
Any time you can be with like-minded people, laughing or crying over the same joke or the same scene... For me it's therapeutic. You just feel a little less alone on the planet.
You know, when you finish the day, and you finish the scene, you don't get a chance to go back to it. So you wanna make sure that everything is left on the floor.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.