A Quote by Lela Loren

There's a bizarre comfort and safety in doing your last and most intimate scenes with the actor you've worked most closely. — © Lela Loren
There's a bizarre comfort and safety in doing your last and most intimate scenes with the actor you've worked most closely.
I've always worked closely with the designers and whoever's making the costumes. Comfort is the last thing you want on your mind when you're competing. In an ideal situation, you'll have something where you'll put it on and you're fine and you don't have to worry about it at all.
The duties of an officer are the safety, honor, and welfare of your country first; the honor, welfare, and comfort of the men in your command second; and the officer s own ease, comfort, and safety last.
In my experience of doing physical scenes, half of your energy is spent on trying to get the other actor to enter into it physically with you. Most actors don't want to hurt each other.
Intimate scenes on a movie set are just dry, bizarre things; people standing around.
What happens so often as an actor is that you retain the information about the scenes that you yourself shot and you obsess over certain scenes that you found the most challenging or interesting. The rest of the film kind of falls away in your memory or it fades a little bit.
What you'll tend to avoid doing is probably the most important thing you need to do because it'll probably be the most daunting and the most potentially successful thing you could be doing and that's usually out of people's comfort zone.
I love Jon Hamm. I'm so lucky to get to work with him and work so closely with him. We have a lot of these scenes that are very intimate, and very tender. Those are the kind of things that an actor lives for. Real moments of connection with other actors.
I cried sobbingly until at last those visions reeking with blood came to comfort me. And then I surrendered myself to them, to those deplorably brutal visions, my most intimate friends.
To be an actor and a director, I actually felt it helped me tremendously to be in the scenes of The Hollars, because as you can see, they're very intimate, very intense scenes. You don't want to break the actor's character and you don't want to break their momentum, so as the actor, I tried not to call cut as much as I could, and almost make it feel like a play, just set this environment where these amazing actors could do what they wanted to do.
I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
The last two days of shooting ('Harper's Island') was probably the most hardcore, the coldest anyone has ever been. It was like your head was freezing, and my motivation for most scenes was, 'The minute this scene is over, I'm heading straight over to that heater to get warm.'
Art is never the voice of a country, it is an even more precious thing, the voice of the individual, doing its best to speak, not comfort of any sort, but truth. And the art that speaks it most unmistakably, most directly, most variously, most fully, is fiction.
Of all the criminal cases in which Philo Vance participated as unofficial investigator, the most sinister, the most bizarre, the seemingly most incomprehensible, and certainly the most terrifying was the one that followed the famous Greene murders.
I think you have to have a sense of humor about every movie that you're doing. Your character needs to be relatable in a way that, even when you're doing the most bizarre things, sometimes a bit of tongue in cheek is necessary to keep up the believability of it.
If I were assigned poems I suppose I'd write more of them but it is entirely voluntary and for the most part ignored in the market sense of the word so the language to me is most intimate, most important, most sublime and most satisfying when it gets done.
When you keep your most intimate relationship in the public eye and that too in a most vulnerable state, then your protective instinct comes out.
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