A Quote by Marilyn Monroe
I've always felt toward the slightest scene, even if all I had to do in a scene was just to come in and say, 'Hi,' that the people ought to get their money's worth and that this is an obligation of mine, to give them the best you can get from me.
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Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.
If you give the actors a problem 'I'm not getting something out of the scene' and it's the writing, we just don't have the scene, if you give them the problem and just give them some key thoughts they can bring some great solutions to the equation too. So if it's just not perfect, or I'm not getting all I can, I'll open it up to them and say let's talk about it.
Rewriting isn't just about dialogue, it's the order of the scenes, how you finish a scene, how you get into a scene. All these final decisions are best made when you're there, watching. It's really enjoyable, but you've got to be there at the director's invitation. You can't just barge in and say, "I'm the writer."
My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with 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.
When some people get parts, they feel they can now relax, but for me it was always the opposite. Sometimes before I do a movie or before I act out a scene, I may not sleep well the night before. If I don't know what the scene is about, I might get all worked up.
The most challenging scene for me was the spider scene, because I don't like spiders in real life. Even rubber ones I get really scared of.
You get on an elevator with someone, you say hi to them, you speak to them. You give respect. That's just how I've always been.
It's always different for whatever the scene asks for but usually, I listen to music before the scene just to get into the mood, mellow myself out and really put myself into the character's shoes. I zone out from everything going on around me and just focus on what I have to do. From there, I just let it happen.
I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.
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 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
There is a scene in the movie where Astrid and Hiccup fly on Toothless's back toward the island of Berk. The animation is intensely real, from the waves on the sea to wisps of wind blowing in the characters' hair. The feeling I get watching that scene is why I fly - just for that feeling.
My first scene was a streaking scene, I had to streak at a footy game, thats how I get introduced.
My first scene was a streaking scene, I had to streak at a footy game, that's how I get introduced.
I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.
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