A Quote by Amy Poehler
Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you are scared, look into your partner's eyes. You will feel better.
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I moved to Chicago in the early 1990s and I studied improvisation there. I learned some rules that I try to apply still today: Listen. Say yes. Live in the moment. Make sure you play with people who have your back. Make big choices early and often. Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you're scared, look into your partner's eyes — you will feel better.
You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don't want to let your own self-consciousness block the flow of creativity that's coming out so that you can act and react, and play what the scene is all about.
London is completely unpredictable when it comes to weather. You'll start a scene, and it's a beautiful morning. You get there at 6 in the morning, set up, you start the scene, start shooting. Three hours later, it is pitch black and rainy.
Sometimes I'll have a scene that strikes me, I just feel like writing a scene, a mini-story that seems like it might lead somewhere. But that is such a tentative, fishing-hook way to go about it that these days I've found it's easier to kind of at least have your concept and start attaching things to a skeleton. So I try to find the armature, the kind of backbone of it first that you can start to hang those scenes on.
I think there was a lot of working out the arc of how Manny [Daniel Radcliffe] talks. Scene to scene [in the Swiss army Man], if I would start talking a little too well, they would come in and say like, "Hey, you need to [dial back] your ability to speak" - things like that.
The acting background helped a lot when I started writing. I was training for it. In acting class they teach you about the stakes in a scene (and) what motivates characters. When you bring a scene to class - as an actor with your scene partner - you have to do everything. There's no producer, set decorator or anything like that. You and you partner have to do everything and that's kind of like facing the blank page as a writer.
I feel like if you shoot one scene all day long or you take two days to do a scene, that scene is going to be stale.
The stage is the opposite: you are talking loud so you can project to the back row and you know the whole play. In a movie, you are scene-to-scene; you only know the purpose of that scene. On the stage, that is artistic science. It is real, it is loving, it is truthfully you. It is two different formulas to make two different art pieces, but it is all about truth.
In my own work, when I start off writing a scene, I don't know which physical details are going to turn out to be meaningful. But, inevitably, certain images will stand out - you start to decide which ones are important as you go.
Having the hip surgery and then still having the pain with it, I was kind of scared jumping off one leg, jumping off two feet. I was scared to be explosive.
Your life doesn't change one way for the better when the Democrats start punishing the rich. In fact, every time you hear the Democrats start talking about standing up for the little guy, look out because it's the little guy that gets creamed.
There's something about being there, on the set, in costume, in the moment, where you start to get a feel for the scene, which is not the same as sitting in your office writing it.
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?
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.
You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'
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