A Quote by Leslie Mann
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
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Different scenes call for different acting styles. The kinds of scenes I like most are the ones where you just bury yourself in there. So I wouldn't say that's the only way to be funny, but that's my favorite way to play stuff, to try to put myself in a situation where that kind of acting is necessary.
Mr. Hitchcock taught me everything about cinema. It was thanks to him that I understood that murder scenes should be shot like love scenes and love scenes like murder scenes.
Let me completely condemn these sickening scenes; scenes of looting, scenes of vandalism, scenes of thieving, scenes of people attacking police, of people even attacking firefighters. This is criminality pure and simple and it has to be confronted.
I'm connected with a lot of different paranormal groups out there worldwide, a lot of different spiritual people. My networking over the course of the past 40 years has really grown where I deal with quite a bit. There's a lot of work that I do behind-the-scenes that I just don't ever talk about or things that don't always come to the forefront as far as investigating and getting involved with spiritual people, meaning any type of clergy, because I do work with a lot of them behind-the-scenes.
With sex scenes and intense scenes, in general, a lot of it is preparation before the scenes happen, so that you don't have to worry about it on set.
All I really know in nonfiction is that when I come home, I've got all these notes and I'm trying to figure out what actually happened to me. I usually kind of know what happened, but as you work through the notes, you find that certain scenes write well and some don't even though they should. Those make a constellation of meaning that weirdly ends up telling you what you just went through. It's a slightly different process, but still there's mystery because when you're bearing down on the scenes, sometimes you find out they mean something different than what you thought.
Instead of saying, ah, I don't have the money, just embrace it and do what we can do. And the scenes that we film and the characterizations in the scenes can come out interesting. And I really feel good about that, going into it.
I met a woman in Albuquerque and she came and hung out with me in the trailer. It was really just more to kind of really understand my biggest concern was always the interrogation scenes. Remember, that's why I really wanted to meet somebody because you see those scenes on TV so much.
I think it's just a lot more pressure to make the scenes work when you're doing a film, because when you're doing a series you feel like, I have so many scenes, so many episodes, so if I don't get it exactly right this time, I have another scene later. You feel less pressure.
It was really an experience, being my first time directing a movie. The scenes that I was in, Brooke really directed me all the time. And the scenes that both of us were in, Brooke directed those. Come to think of it, Brooke directed most of the scenes.
Early on, many years ago when we started 'Avatar,' the executive that we were working with said to make the sad scenes sadder, the funny scenes funnier, the scary scenes scarier. That was kind of permission to do what we felt comfortable with.
That's the challenging thing with TV; it's not the action scenes per se, and it's not the location scenes and the heavy dialog scenes, but the fact that there is just no let-up; there is no break.
In features, we're languid: we shoot one or two scenes over, like, three days. In TV, the pace is so different. You're shooting ten scenes a day, going way into the future or way back into the past. It's complete madness, and I'm just trying to keep up with this really electric pace.
I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters.
The way our big cities change sucks. The beauty of cities was that they were edgy, sometimes even a little dangerous. Artists, poets, and activists could come and unify and create different kinds of scenes. Not just fashion scenes, scenes that were politically active. Big cities are getting so high-end oriented, business corporate fashion, fashion not in an artistic sense but in a corporate sense. For me that edgy beauty of cities is lost, wherever you go.
My first acting lessons were Shakespeare. The first time I ever started working with a coach was doing scenes from 'Measure for Measure,' which were tough dramatic scenes. And then 'Taming of the Shrew,' which required comedic timing. And that's the kind of stuff I love.
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