A Quote by Mark Ruffalo
Some of my favorite scenes aren't in the movie. Because you, at some point, realize that your responsibility as director is purely to the story. It's not to your pleasure.
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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.
As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.
A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.
My writing's like a journey. I'll know some of the stops ahead of time, and I'll make some of those stops and some of them I won't. Some will be a moot point by the time I get there. You know every script will have four to six basic scenes that you're going to do. It's all the scenes where your characters really come from.
You might have a favorite book or film, but you can only watch or read it so many times before you have to let it sit and then go back and realize it's your favorite still. At some point everything gets a little stale and you have to step away from it.
When you do your collection, you are much more free. You have fewer boundaries. When you work on a movie, you have to take into consideration the story, the plot, the vision of the director, even the physique of your cast. And then on top of all this, you want your imagination, your taste, and your ideas to come through. But a movie is forever.
There are some scenes that you have to lose in order to win something at the end. A good director will keep pointing you that way, but it is also your job as an actor to understand that there are scenes that you do, particularly when you are the lead, where other people get to come in and steal and you have to let them. I understand that but a good director always reminds you where those moments are.
I'm a dreamer. I watch people. You don't try to become them because you could never become any of those guys. But you hope that some of it, you know, comes off on you at some point in your show, some point in your writing, that it happens to you and this light just shines on you.
You always know when one of the first ["Harry Potter" movies] are on TV, because you'll get a text message from one of your friends saying, "How high was your voice?" It's like watching a home movie, in some sense. But you just remember because the audience sees the scenes as they're written, but we remember shooting [the scenes] and all the stories that came around it. Like the Quidditch World Cup in ["Harry Potter and the] Goblet of Fire," it's like the Glastonbury Festival at Leavesden [Studios].
There are some moments in your life and in your career when you meet a movie and the director that suddenly just turns you to another dimension.
When you're adapting a novel, there are always scenes taken out of the book, and no matter which scenes they are, it's always someone's favorite. As a screenwriter, you realize, 'Well, it doesn't work if you include everyone's favorite scenes.'
At some point, you realize that people might be laughing at your jokes because they're afraid not to laugh.
Some scenes you juggle two balls, some scenes you juggle three balls, some scenes you can juggle five balls. The key is always to speak in your own voice. Speak the truth. That's Acting 101. Then you start putting layers on top of that.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
Talking to god and coming back because that's what we have to do. That's your responsibility as a director, as an artist, as a performer. Your responsibility is back again to your people.
At some point, you realize you can't provide a perfectly monolithic description of a foreign culture's future any more than you can provide a monolithic description of your own hometown's future. Your choices about what to emphasize and what to leave out make all the difference, and ultimately, your fingerprints and biases and viewpoints are going to be all over the story.
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