Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.
I often found that my favorite scene that I shoot is often one that I cut out, like in 'The Last Castle' and 'The Contender.' If you look at the deleted scenes, some of the best scenes never made it into the film.
When you have quick scenes, it becomes difficult to ascertain where your character fits and where they're going. I always enjoy scenes that have a movement to them.
I'd like to be played as a child by Natalie Wood. I'd have some romantic scenes as Audrey Hepburn and have gritty black-and-white scenes as Patricia Neal.
With sex scenes and intense scenes, in general, a lot of it is preparation before the scenes happen, so that you don't have to worry about it on set.
I paint mostly from real life. It has to start with that. Real people, real street scenes, behind the curtain scenes, live models, paintings, photographs, staged setups, architecture, grids, graphic design. Whatever it takes to make it work.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual. But in "Iron Man" it was kind of like both worlds colliding because there was a lot of improvisation, not that we improv-ed in the scenes but to discover the actual scenes themselves.
Mr. Hitchcock taught me everything about cinema. It was thanks to him that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.
Early on, many years ago when we started 'Avatar,' the executive that we were working with said to make the sad scenes sadder, the funny scenes funnier, the scary scenes scarier. That was kind of permission to do what we felt comfortable with.
I'd prefer to include sex scenes alongside the adventure scenes and everyday-life scenes, as if they were all part of the same thing. Which of course they are. Sex is not discrete from the rest of our existence.
Comedy people are always present because they're always looking for the funniest version of whatever the line is. Sometimes theater people, where scripts are sacrosanct, aren't quite as present in scenes. That's a massive generalization, but in my experience, I find that comedy people are great to improvise with and to do scenes with because they're there.
I've been in so many funeral scenes from The Sopranos, and I think I've even been in one on Sons of Anarchy. Those scenes, as a human being, are the most tedious scenes, of all time. You're waiting, all day, in the blistering hot heat. So, I didn't need to be there.
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.