A Quote by David Schwimmer
I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.
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Someone asked me recently if marriage is 50-50 - it averages out to be 50-50, but sometimes it's 75-25, sometimes it's 90-10. In the end, it has to average out to be 50-50; that's how you support each other.
We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.
Right now, you hear about teamwork, and it's defined as 50-50, and that is a falsehood. There's no such thing as 50-50. You know, you do whatever you have to do as part of the team.
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.
A little bit more than 50% of what you see on screen is handcrafted and the other 50% was about emulating these textures on the computer. However, for us, when we were making it, we had to believe it was all handcrafted.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
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?
I actually went to see 'Rushmore,' and I came late, and I missed myself. It was great, that scene. I caught that scene the other day on TV, funny enough, the first scene that you see with Jason Schwartzman and myself, where we talk about his grades. That's a brilliant scene, and I have to say, we play it brilliantly.
Giving a reader a sex scene that is only half right is like giving her half a kitten. It is not half as cute as a whole kitten; it is a bloody, godawful mess. A half-good sex scene is not half as hot; it actually moves into the negative numbers, draining any heat from the surrounding material.
In some ways any film that you do has an artificiality about it. Even when you're doing the most kitchen-sinky, gritty, realistic scene you've still got 50 people standing around watching you with cameras and lights and things.
I often tell my students that you can't worry about the end of an improv scene because the end is not up to you. You just play as hard as you can until someone changes the scene. The scene has changedthe end is not up to us.
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.
In Puerto Rico, I played in all kinds of bands that played salsa and merengue. That's how I saved the money to come to the U.S. We used to play El Gran Combo tunes. Half the band was my friends - we were around 15 - and the other half was my friend's father and his friends from the hospital where he worked. They were all, like, 50.
Feminists of my mother's generation argued that both mom and dad should work a little less and each do some of the household chores. My parents, for example, split everything 50/50. Even though my father is a terrible cook, he still made dinner exactly half the time.
Pessimists, we're told, look at a glass containing 50% air and 50% water and see it as half empty. Optimists, in contrast, see it as half full. Engineers, of course, understand the glass is twice as big as it needs to be.
Climbers seem to forget that we said in our introduction that there were simply '50 classic routes', not 'the 50 classics'. We chose 50 from a list of about 120. Only a torturer will ever pry loose from our lips the names of those other 70 classics.
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