A Quote by Ellie Simmonds
I didn't really come on the scene nationally until 2008.
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I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.
I have a nationally distributed film whose pivotal scene is the ultrasound-guided abortion.
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
I saw that with Hillary Clinton and Sarah Palin in 2008. I mean, I came away from the 2008 campaign feeling really icky.
The crazy thing is that I really wasn't under any pressure. My contract wasn't going to expire until the end of 2008, and everyone was satisfied with me. But I wasn't. I always wanted to improve.
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.
I think it's much harder to have a long dialogue scene than an action scene. An action scene is long, but it's not really hard. It's kind of boring, really. It looks good at the end, but to shoot it, it's not the most exciting thing.
How it works for me is that a scene comes to mind, usually a scene between the hero and heroine, that depicts the emotional conflict. From that scene, the characters come alive for me. I don't do a lot of preplanning in any way when I write.
I've been training all my life, but probably didn't grow muscle-y until I quit doing basketball. I played for Iceland's under-18 and under-17 team, so it wasn't until probably 2007, 2008 that I start to gain a lot of weight.
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.
I eat broccoli. I think about the plot. I pace in circles for hours, counter-clockwise, listening to music. I try to think of one detail in the scene I'm about to write that I'm really excited about writing. Until I can come up with that one detail, I pace.
John Carpenter was very gentle. He was very tender. He really liked talking to actors. He really wanted you to be comfortable. He waited until you were ready to do the scene, and he has a lot of confidence.
It's just really, really beautiful. Each scene is one long 15 minute take without cutting. My scene is with Robin Wright-Penn so I'm pretty excited about that.
Trying to stay in the moment as an actor and being really [present in] what you're doing and the scene that's going on and where the characters have come from, it wasn't difficult, per se, to really embody and embrace.
I want to focus on each scene. I'm a real perfectionist, and I don't want to feel like I didn't consider every possible variation of a scene. I come from a theater background, so I'm used to a lot of repetition, and I'm used to really attacking something over and over and over again.
I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.
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