A Quote by Edward Zwick
It's one thing to plan and imagine what you want on a film, but when you actually arrive and survey the scene, there's a moment of, 'Oh my God, what was I thinking?'
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The last thing you want to do when you are about to film a scene is think, 'Oh my God, so many people are going to watch this.
The last thing you want to do when you are about to film a scene is think, 'Oh my God, so many people are going to watch this.'
I have fantasized about people I haven't worked with for sure. Sometimes, when am watching a film, I'll be thinking, Oh my god, I should've got this scene or this song.'
One of the things I tried to do is to kind of talk my actors through the scene, but at the same time let them know how I plan to shoot the film and just give them an insight into the way I'm thinking, so that when they're acting out their scene, they can kind of see it in their minds' eyes.
I want Thy plan, O God, for my life. May I be happy and contented whether in the homeland or on the foreign field; whether married or alone, in happiness or sorrow, health or sickness, prosperity or adversity -- I want Thy plan, O God, for my life. I want it; oh, I want it.
Film and television are very different. On the TV show, we do seven or eight scenes a day, so time and money are of the essence, and we have zero room for creativity because you've got to do each scene in only five takes. Whereas, on a film, you have an entire day to film one scene, so you have so much time to choose how you want to fill in a scene.
Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?'
Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?
I like the rhythm of comedy in dramas, if that makes sense. In other words, I don't want to write setup, punch, setup, punch, where the joke dictates the scene; I want to find comedy in which the drama is actually driving the moment in the scene.
I know Elon, we're very like minded in many ways. We're not conceptual twins. One thing I want us to do is go to Mars, but for me it's one thing. He's singularly focused on that. I think motivation wise, for me I don't find that Plan B idea motivating. I don't want a plan B for Earth, I want Plan B to make sure Plan A works.
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.
I won't sign a film thinking, 'Oh my God! I don't have a film so I've got to sign one real quickly.'
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.
(Playing with Jeffster at Comic-Con) was absolutely the scariest thing I have ever done. I literally skipped over the 'what a great moment' to 'oh, my God, I can't believe I have to do this.' And when I was up there, the people were, like, "Oh, my God," and they were all screaming and stuff. But I didn't hear a thing. I was just in my own little bubble of horror and panic, utterly, utterly blanched with terror.
You cannot create a thing-not a thought, an object, an event-no experience of any kind-which is outside of God's plan. For God's plan is for you to create anything-everything-whatever you want.
I remember the first scene I shot on 'The Blind Side.' I was with Sandra Bullock, and I kept trying to stop myself thinking, 'Oh my God, I can't believe I'm in a movie with her.'
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