A Quote by Ayelet Zurer
Even in the big movies, if the scenes are very big, I'm not fond of them as much as I'm fond of small actor scenes.
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You have to be very fond of men. Very, very fond. You have to be very fond of them to love them. Otherwise they're simply unbearable.
How dear to this heart are the scenes of my childhood, When fond recollection presents them to view.
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 have never been over fond of scenes anywhere.
I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.
To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.
The way our big cities change sucks. The beauty of cities was that they were edgy, sometimes even a little dangerous. Artists, poets, and activists could come and unify and create different kinds of scenes. Not just fashion scenes, scenes that were politically active. Big cities are getting so high-end oriented, business corporate fashion, fashion not in an artistic sense but in a corporate sense. For me that edgy beauty of cities is lost, wherever you go.
I write the big scenes first, that is, the scenes that carry the meaning of the book, the emotional experience.
In the scenes I try to be a giver as much as possible, giving the other actor something to work with. When not in the scenes I will stand in for eye lines to help the other actor with delivery and hopefully performance.
How dear to my heart are the scenes of my childhood, When fond recollection recalls them to view; The orchard, the meadow, the deep-tangled wildwood, And every loved spot which my infancy knew.
I've been lucky to be a part of many blockbuster movies... in which it's hard to get to that level of being memorable, but I still have fond memories of 'Independence Day,' to be sure. There are also many small ones I've had that give me many fond memories.
I'm very fond of an old map of London that used to belong to my father. I'm a big London fan, and the evolution of the city is astonishing, when you look back to Pepys and how small it was - everyone knew each other.
I'm a big fan of Clint Eastwood, but the Westerns I draw from most directly come from an earlier period in Hollywood. I actually look back at movies like 'Rio Bravo' and others I've liked over the years, and I capture pictures from the movies and use them as a reference for the scenes I create.
I was always fond of visiting new scenes, and observing strange characters and manners. Even when a mere child I began my travels, and made many tours of discovery into foreign parts and unknown regions of my native city, to the frequent alarm of my parents, and the emolument of the town-crier.
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.
Kurt Russell said another brilliant thing. He had starred in umpteen movies by that point. And he said, "Generally speaking, in every film I've done, there are only about three or four scenes that I can really do something with. For the rest of it, it's not so much that you don't have to prepare, but there's not much you can really do. You just do what is asked of you in those scenes. You don't want to do too much."
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