It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it. "
Actually, when it comes to knocking the Canadian cultural scene, nobody outdoes Canadians, myself included. We are veritable masters of self-deprecation.
I'm not worried about the kernel itself or the basic system. All the commercialization is about the distributions and the applications. As such, it only brings value-added things to Linux, and it doesn't take anything away from the Linux scene.
I saw the industrial scene and I was affected by it. I tried to paint it all the time. I tried to paint the industrial scene as best I could. It wasn’t easy.
When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play.
When you're studying drama, when you're a young actor, there are simple rules about acting. "Why am I here? What prevents me from leaving? What am I trying to get? How do I hide something?" So when you're making a film like Abel's movie, you want to be thinking about those things all the time. And you wanna be armed with those things, and you hope the other actors you're working with have the same understanding of drama and scene and acting. Sometimes it works and sometimes it doesn't.
Anthony Ryan is a new fantasy author destined to make his mark on the genre. His debut novel, Blood Song, certainly has it all: great coming of age tale, compelling character, and a fast-paced plot. If his first book is any indication of things to come, then all fantasy readers should rejoice as a new master storyteller has hit the 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.
The less event and action there is in a scene the more I can enter into it.
I'm always excited to do the fight scenes.
The 'wandering studio' gathers and stores experiences, takes chances with the unfamiliar and requires a measure of self-trust. Mistakes are part of the change of scene.
I guess maybe I was hired to play in the Doll House because of my dinner scene in The Sixth Sense, which has been scrutinized a thousand times as to whether you know Bruce Willis is dead, or whether I'm talking to myself. I think that maybe if that could be my forte, to do a scene and be able to say it could be read this way or that way.
I started out as a poet who primarily wanted to write about image and moment. Over the years I've been trying to teach myself how to do plot and scene. My first story collection had the most issues with the plotlessness, and when I was writing my second collection I was teaching myself how to make things happen.
As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.
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 sad that Corpse Bride was so short. I would've liked to have had her around for way longer. She doesn't actually have that many scenes.
I really had very little to do with Pierre Trudeau. He was off the scene very soon.
Affliction is the good man's shining scene; prosperity conceals his brightest ray; as night to stars, woe lustre gives to man.
Music is so powerful to me. I had my IPod and headphones, and my sad playlist. I kind of ventured off for just a little bit to get into the scene.
When I admire a writer, it's for the recognizable palette - Hemingway's minimalism, the dialogue, those isolated bar scenes. But with each story or novel, he shows me something different within the framework he's built - like noticing that there's a chair in the corner I didn't see in another story.