Poetry is the essence of everything, and it’s through deep contact with reality and living fully that you reach poetry. Very often I see photographers cultivating the strangeness or awkwardness of a scene, thinking it is poetry. No. Poetry is two elements which are suddenly conflict — a spark between two elements. But it’s given very seldom, and you can’t look for it. It’s like if you look for inspiration. No, it just comes by enriching yourself and living.
Deleted scenes are like in a middle gray zone. It's like, well, they're deleted because they're not good or you lost the battle and you couldn't put them in the movie.
Being in the same scenes as Maggie Smith and Shirley MacLaine is something I will never forget.
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.
I don't find intimate scenes more difficult than other scenes.
I'm not a selfish actor. I believe that it's a team effort. You're not in a scene by yourself.
I'm not attached to a certain scene. There was certain music - and techno was a part of it - that really formulated something for me, that really was a direct connection to what I experienced in my life. Going to parties and listening to techno at home helped form my musical identity. And that changed throughout my life.
[Deadpool] is definitely squirm-inducing. It's a pretty hard R, violence-wise. But cartoony, also. Maybe fast-forward through to torture scenes.
Heaven blazing into the head: Tragedy wrought to its uttermost. Though Hamlet rambles and Lear rages And all the drop-scenes drop at once Upon a hundred thousand stages It cannot grow by an inch or an ounce.
One of the mistakes I made was believing that the rock 'n' roll genre as a genre was much more free than the whole pop or R&B scene.
Verbal representations of such places or scenes may, or may not, have the merit of accuracy; but photographic presentments of them will be accepted by posterity with an undoubting faith.
We had this scene where I'm supposed to be bending over to get something. I thought it was kind of cute.
If a brutal scene is shown for no reason except to shock, then it is bad.
I know pretty well in the broad sense what I'm going to do, because I have to know that when we shoot the live-action, so that it'll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.
The whiskey died away in time and was renewed and died again, but the street ran on. From that night the thousand streets ran as one street, with imperceptible corners and changes of scene.
A lot of the projects I've allowed myself to get involved with over the past few years have made me a bit unfocused. It's just so ridiculously easy to do things here; if you're part of the scene, in five minutes you can wind up with two gigs within three days of each other. There's too much going on here and that's a bad thing, to me. Unless you want to jam, and then it's good.
I just never want to be in this situation where I get to set and they're like, "We rewrote this scene, you're now naked. " I need a little prep work.
I had a really weird moment when I was doing ADR, and I was watching a sex scene that I was in. I had this really detached moment where I realized I was looking at my own behind in third person.
I kind of found a niche for myself after 'Firefly'. I found something that I enjoyed doing and that I did well, but as far as how I seek out a part, it's always different. It's always something that lights you on fire when you read it. It might be just one scene, it might be one line that defines the character for you.
I've learned a lot about stage-managing for illustration. Sometimes you have to delete characters from a scene just to keep from overcrowding the image. I've also learned to making big-scale design decisions early.