A Quote by Ana de Armas
When you have three days to work on a scene, you can give all that love to the movie.
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All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.
They're trying to beat out this movie, the Ring, which is a similar idea. Our movie is about a website you visit and die in three days. Their movie is about a videotape you watch - and die in three days.
Character actors just pile up the credits because you work on a movie for, like, a few days. It's not like I'm the lead in everything I do - far from it. I'm not spending three or four months on a picture; I'm spending three or four weeks. Sometimes three or four days.
Character actors just pile up the credits because you work on a movie for like a few days. It's not like I'm the lead in everything I do - far from it. I'm not spending three or four months on a picture; I'm spending three or four weeks. Sometimes three or four days.
I love what I do and feel really lucky to still love what I do - I want to get out of bed and go to work at least three out of five days a week! My fear is it ends up any less than three days. But design-wise, I've still got an appetite, a lot more I want to say with my work - the story is not nearly complete!
My first-ever job in the movie business, I was an art student at Carnegie Mellon, and they were shooting the movie 'Gung Ho' in Pittsburgh, and I worked as an extra for a few days. Michael Keaton bumped into me in one scene, and it's in the movie. And I worshipped him.
When you go from movie to movie, it's like going from family to family. You work with people for really intense hours on really long days and a bond happens. So even when a movie is terrible, you love it.
I love more than anything looking at a movie scene by scene and seeing the intention behind it.
I cooked a little bit in my first movie; I did a movie called 'Made.' For the little kid in the movie, I do a scene where I'm preparing a pasta puttanesca. I always loved watching that scene.
There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.
I love more than anything looking at a movie scene by scene and seeing the intention behind it. It allows you to really appreciate the hand of the filmmaker.
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.
It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.
I basically made the movie from the crew's suggestions. For one scene, I wanted some kids' toys against the wall in Mikey's room, to give the scene texture, and we tried a field hockey stick. It looked really good to me, until someone had to say that in America, field hockey is more of a girl's game. Gradually I got tuned into the world - that happens on every movie.
What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
I had a head injury when I was living in England; I was in the hospital for three days, and they didn't even ask for my name. I spent three days in there. And then, when I was done, I just got up and left. I wasn't a British citizen; I was there on a work permit.
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