A Quote by Mark Duplass
Well, I'll be honest with you, sometimes you don't know you're playing a moment that's going to be in a montage. Sometimes it's a scene that didn't work out the way you hoped it would be and ends up in a montage.
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A montage is incredibly challenging. When I can, I'd like to know what the music is going to be ahead of time because that will affect the beat, the pace of the montage.
But for me, you also have to be conscious of what is going to play. And that includes playing with. Sometimes it's just a vibe. It's what's going to make this scene work. And sometimes there may be something that restricts you that has to do with something that maybe is historically accurate. And then you have to weigh that decision and give up something for a scene to work.
Sometimes, when there's a video montage. I'm thinking, 'That's my life. Oh, my God, I did that.' Yeah, it's amazing.
I think part of that comes from time's passed, and she's been in an environment where training is part of the thing. It's not like we do a montage of her discovering her powers like in every X-Men film but yeah, there's no montage. But she does have these new abilities that we pick her up with.
As for the various kinds of montage photography, they are in reality not photography at all but a kind of painting in which photography is used - as pastiches of textiles are used in crazy-quilts - to form a mosaic. Whatever value the montage may have derives from painting rather than the camera.
I thought of the scene while writing scenes with Rebecca [Hall] and wrote it like an opening montage of showing where someone works. If you see a film about a car mechanic, you'd show the place they work and what they do. So, that's what I set out to do with Rebecca's character. I thought it probably wouldn't even make it into film but I ended up liking it.
Occasionally, as an actor, you're not... Sometimes, at least for me, I'm not fully in the groove until the second or third take, in which I would not want to just stop. If it's a scene that takes a lot of work and time, sometimes the scene gets better with time, and sometimes it gets exhausted. I think it just depends on the scene.
We're not robots, we're not factory built. We have feelings, we have families and we go through tough times that people don't know about. Sometimes your form isn't good and there's a reason for that. Sometimes the team isn't playing well and you can't quite work out why.
Sometimes you do films that work really well and sometimes you do a film and you fall flat on your face. Sometimes things work, sometimes things don't work, you never know. I don't think there is any explanation to something like that.
I just try to show up and be relaxed and present and honest. And that's my only trick. And sometimes it works, and sometimes it doesn't. Honestly, sometimes it really doesn't work.
I would like my life to be a movie so I could cut to a montage.
'Up' was the best. The first 10 minutes of that movie made me weep. It was so well done... even if that montage was all I'd seen, just as a short film, that was great. That was my favorite thing of the year.
That's our job as artists is to be honest about what we're feeling. And what we're feeling is not always going to be perfect. Sometimes it's going to be controversial. Sometimes it's going to piss a couple of people off. Sometimes it's going to motivate people. Sometimes it's going to inspire.
Sometimes, I remember, for action continuity or to get all warmed up for an action scene before giving a close-up or saying a dialogue, I would do push-ups. I didn't know any other way to get my body mechanism going.
All I want out of music is to think to myself, this could be in a makeover montage.
I think several generations of my family had novels in the drawer. You know the montage in 'The Royal Tenenbaums' where each character has produced some sort of minor work? It was like having a magician in the household.
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