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A little madness in the Spring Is wholesome even for the King, But God be with the Clown, Who ponders this tremendous scene-- This whole experiment in green, As if it were his own!
I think there's a natural system in your own head about how much violence the scene warrants. It's not an intellectual process, it's an instinctive process.
The transformation scene, where man is becoming insect and insect has become at least man and beyond that - a flying, godlike, shimmering, diaphanous, beautiful creature.
I simply know what the actor's attitude should be and what he should say. He doesn't, because he can't see the relationship that begins to exist between his body and the other things in the scene.
I Still Approach A Scene As One Would Approach A Guitar Solo. You Don't Exactly Know How You're Going To Phrase This Or That. Which I Think Is Beautiful. That Idea Of Chance.
There's art on the show that's really bad - these cliché Abstract Expressionist gestural things. It's almost like extensions of my performance, because in the scene I'm really mad.
The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15
I try to stay away from the L.A. scene as much as possible. I feel it helps me to better prepare for my roles if I am not too involved in that whole thing.
My grandmother, when she looked at American movies, she said, 'They're all the same. In the first scene somebody shoots somebody and then everybody makes phone calls.'
Competition [in a scene] is healthy. Competition is life. Yet most actors refuse to acknowledge this. They don't want to compete. They want to get along. And they are therefore not first-rate actors.
You always absorb a lot from a great actor. What you want, as an actor, no matter where you are in your career, is a partner who's going to bring everything they have to the scene.
It's like that scene from The Player when they talk about merging Star Wars and Kramer vs. Kramer, or whatever. You could do that with music and it would just be awful.
As much as I converse with sages and heroes, they have very little of my love and admiration. I long for rural and domestic scene, for the warbling of birds and the prattling of my children.
I'm out doing my deal, I'm turning people on. What's wrong with taking people away from their everyday mundane situation and having a good, fun night for an hour and a half at a rock'n'roll scene?
Most women's pictures are as boring and as formulaic as men's pictures. In place of a car chase or a battle scene, what you get is an extreme closeup of a woman breaking down.
As soon as you know the voice and understand what it is, the whole scene changes. The same world which was the ghastly battlefield of maya is now changed into something good and beautiful.
You always have to know what the ambition of the scene is, what the purpose of that scene is in the telling of the story overall, so that you're there to support the story.
Give weather reports. It helps the reality of a scene if foghorns are blowing or kites are in the sky on a windy afternoon or the day's so hot wallpaper is peeling off the walls.
I grew up with classical music when I was a ballet dancer. Now when I have to prepare an emotional scene, to cry or whatever, I listen to sonatas. Vivaldi and stuff. It's just beautiful to me.
My background with Cummings was rehearse, rehearse, rehearse, but Tuesday liked to walk in and do the scene. I must say that she was really wonderful. Aggravating, but wonderful.
I have found myself deeply, deeply intrigued by the ska-punk scene. It's such an expressive form of popular music, it's so real, it's got so much life: it's the most vital music in the world.
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.
The stuff that I got in trouble for, the casting for The Godfather or the flag scene in Patton, was the stuff that was remembered, and was considered the good work.