A Quote by Al Pacino

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene. — © Al Pacino
Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.
How it works for me is that a scene comes to mind, usually a scene between the hero and heroine, that depicts the emotional conflict. From that scene, the characters come alive for me. I don't do a lot of preplanning in any way when I write.
Certain things can't be approximated, so I'm always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful... Brutal language isn't necessarily the most truthful way of describing a brutal moment.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
You are not just, "This is the way I play it every night." You are constantly finding new ways in, new attacks, "I want to try it this way. Maybe this scene is affecting that scene. I want to attack this scene differently."
When you allow an animator to focus on a portion of the film and really understand the arc of the scene, what's happening with the characters, they can make choices all along the way that reinforce the main points of the scene. They really get to know what's happening.
As an actor, you always find your way. You have whatever preparation techniques you use, and you just go with the scene when you're on set. You can only plan so much when you're working, because things have to come naturally in the scene.
Warwick Davies is a cracking actor. The opening scene in the last 'Harry Potter' film, where he plays a captured Griphook, is mesmerising. His pacing is sublime, and the menace and regret he builds into the scene is fantastic.
What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place-this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.
Scorsese is a fan of improv and is always pushing actors to think up something that would make the scene more fun. He loves any idea that helps the scene be alive.
Australians are crazy, man! Every night, I feel like I'm in a scene from Brad Pitt's 'World War Z'... the kids are going to figure out a way to from a zombie rave ladder over the plexiglass and come into the DJ booth and eat me alive... Not in a bad way at all.
The hardest scene for me is always the scene when I'm dealing with performances, when I'm actually looking at the guys and hoping that I'm covering it in the right way and that I'm handling it in the right way.
The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.
I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.
I actually went to see 'Rushmore,' and I came late, and I missed myself. It was great, that scene. I caught that scene the other day on TV, funny enough, the first scene that you see with Jason Schwartzman and myself, where we talk about his grades. That's a brilliant scene, and I have to say, we play it brilliantly.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
You're not doing the scene exactly the way it is in the book [The Hunger Games], but the intention of the scene is there.
This site uses cookies to ensure you get the best experience. More info...
Got it!