A Quote by Jess Row
My parents didn't really restrict my movement, so I got involved in the underground music scene and the activism scene; I was doing some volunteering in food relief. I spent a lot of time throughout the city in poor areas, even though my family lived in a wealthy area.
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I lived somewhat of a nomadic life, even when I lived in Ohio. We spent time in rural areas, in suburban areas, never really city areas. We rode four-wheelers. We had pigs and ferrets. And creeks. We had a creek in my backyard. It was like 'Huckleberry Finn.'
The emergence of the independent hip-hop scene has replaced what we called the "underground scene". It's what the underground scene has evolved into: actual businesses.
I did the underground scene growing up. I lived in Albany, New York so I'd go see Stigmata, Hatebreed, Murphy's Law so I was in that whole scene.
I feel like I have a lot of rhythm because I'm from the DMV. Because you got so many different types of music: Baltimore Club music, Go-Go, then you got the DMV rap music scene, then you got the DMV R&B music scene. It's a lot of music and it's a lot of taste that caters to most.
There isn't much of a music scene in Hermann, unless you like polka. But the landscape I grew up in is a part of me. I spent a lot of time in the woods doing a lot of nothing to break the boredom.
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
To some extent at that time, we injected rock and roll into that scene- we played loud and that was a huge turning point for that scene. We were involved in playing with all those people.
I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'
The scene was attempted a second time, up on top of the fort, and cameras didn't even roll. Michael, though he wasn't admitting it, wasn't sure how to shoot the scene.
It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.
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.
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?
There are so many varieties of films. You've got the jet-lagged films, where you fly to Bulgaria or wherever and get off the plane, and they bring you right to the set, and you start working, even though I don't even know my name, it's been such a long flight. Then there's the alimony films. But after you've been doing this long enough, you've gotten into every kind of situation you can imagine, even to the point where there is basically no script, so you have to kind of do it scene by scene and survive.
In general, I don't even have the luxury of rehearsal time on most films that I make. It is just a scene-by-scene full cast read through. It's very much just doing the rehearsal sometimes the day before, at the end of the day, but just on the spot as the scene unfolds.
The underground scene is still a cool way to meet a lot of cool people, see a lot of interesting bands and get a lot of food for thought, but people have to remain curious and get their brain activity food from other places besides punk.
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