A Quote by HoYeon Jung
The last scene with Sae-byeok, I was nervous. But I had to do it.
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I tried many ways to become the real Sae-byeok.
As time went on, I felt that Sae-Byeok and I were becoming closer. I found joy in our synergy. The time I spent playing her was worth every second.
In a way, I think Sae-byeok lived her life to the fullest, so her desperate need to win was different from the others, and she didn't necessarily have to earn the cash prize.
To tell you the truth, people might think going from a model to a North Korean defector would've been difficult in appearance. For me, the focus was not on the external but internal side of things, to fully understand Sae-byeok's life.
I didn't think I grafted the competitive and strong-willed versions of myself from 'Korea's Next Top Model' to Sae-byeok's character. But thinking of it now, maybe I still have those aspects within me, which helped me understand the role.
First of all, I find everything very astonishing. The astonishment that things can change so much over such a short span of time. And I also feel grateful that so many people worldwide love Sae-byeok as much as I love her.
But to see her was to love her, Love but her, and love forever. Had we never lou'd sae kindly, Had we never lou'd sae blindly, Never met - or never parted - We had ne'er been broken hearted
In my last scene in 'Breaking Dawn,' Bella has just died and I run outside and crumple to the ground and just lose it. I'm bawling. That was my last scene of 'Twilight' ever and I definitely had some extra motivation.
All green was anished sae of pine and yew, That still displayed their melancholy hue; Sae the green holly with its berries red, And the green moss that o'er the grael spread.
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.
Everything we do on 'Luck' is absolutely no different than if we'd had been doing it in a feature film. There's no short cuts. The specificity of what every single line might mean. Everything Dustin Hoffman does. Kevin Dunn is as authentic in the last scene of the last episode as he is in the first scene of the first episode.
I had to be naked [in Vinyl], but I was almost more nervous about having to be drunk. The director wasn't going to yell, "Too big!," during the nude scene. For the drunk scene, you can be bad drunk or good drunk. We'll see. My wife was not happy, hearing about it.
I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.
I'm a firm believer that if you're nervous before you go into a scene, it means the scene is going to be good, and it means you're invested in making something special.
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.
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.
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