I don't know if you want to see the Everybody Loves Raymond guy in a nude scene.
As an insecure writer, I'll finish a scene and worry there's a better version of it. Or it could be elevated somehow.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
I was off the scene for a while during the ska period and when I returned and joined the Treasure Isle studio, I came there with a different mood. The musicians picked up on that and we kept on going in that direction. The music became slower, which gave the bass player the time to play more notes. In 1965 I named it rocksteady. The first rocksteady song was 'Girl I've Got A Date'. That one was still a bit up-tempo, leaning towards ska. It turned the tide and made Treasure Isle the number one studio.
I was working with Michael Shannon and I was like, "Oh man I'm having trouble with this scene. " And he's like, "Well, then just open it up. " I was like, "But, the mark?" And I was like, what's wrong with me? And he was like, "Dude, what's wrong with you?"
I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.
I'm too sensitive. I could not show up to a murder scene and do anything like that. It would break me instantly.
The scene isn't one of perpetual death but of life circulating within itself.
I wasn't a trained actor, I was trained in musical comedy theater, and when you do that, the audience is completely part of the thing. It's like Elizabethan theater. You play the scene, and then you turn - the audience is part of it.
When I was doing the screenplay, people who read the book Call Me by Your Name would go, "Oh god, what are you going to do about the peach scene?" I'd say, "I don't know, but I'll do something. " And finally I figured out that there was a way of doing it without being totally graphic. You can do it in a way where the audience gets it and accepts it.
I don't even like watching sex scenes in movies. I have a slight prudish side to me.
The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.
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.
As far as my own life goes, I don't buy into the Hollywood scene.
s a scene of changes, and to be constant in Nature were inconstancy.
Almost every scene, I re-think as Im about to start drawing it, and at least half of the time Im changing dialogue or whatever, or adding scenes or different things.
If a comic comes out on the scene and it's really knock-out brilliant, the community is pretty good about getting the word about good newcomers.
Of course, actors look forward to the day when they can do a big courtroom scene.
I learned a valuable lesson doing 'Mr. Sunshine,' which is that I didn't want to be in charge because it's too much. Being in charge and acting in every scene was just too difficult. It's like eating dinner in a moving golf cart every night.
In scene after scene, meaning sneaks in and sometimes roars.