A Quote by David Gilmour
Obviously record companies tend to be following what the scene is rather than making the scene.
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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?
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.
When you're watching a show like this or watching a movie, sometimes when you have big music in a scene, it tends to push the viewer out of the scene and makes someone feel like an audience member rather than like they're in the scene.
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.
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.
Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.
Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
I tend to edit some as I go - partly because one of the reasons I don't outline much is that I don't know what the next scene will be until I've actually written the previous scene.
Usually on a film set it's making sure that everyone is there for their scene, and the moment their scene is over they disappear.
There's often rarely any dialogue in a sex scene. With your fellow actor, it's good to talk about what the unspoken dialogue is, that's happening in the scene. You've got to play something rather than feel self-conscious or exposed.
If you just stay with it and take it scene by scene, episode by episode, all of the questions that I have, as an actor, tend to answer themselves.
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.
My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.
You can't feel sorry for a scene. If the movie works without the scene, then you don't need the scene.
I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady… This particular scene is the most beautiful scene ever written.
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
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