A Quote by Miguel Sapochnik
I really, really liked shooting and doing the scene with Emilia Clarke and Peter Dinklage at the end of 'Winds of Winter,' when she gives him the Hand of the Queen. Because we shot it very simply. We felt like we had managed to do something that was visual but really was a very intimate scene between two people.
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The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.
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
Sometimes people that are very good at improvisation in life, meaning like stage improvisation, aren't good in films because you have to ultimately take a scene where it needs to go. It's not about just saying something that's funny. You can say something funny but if it's not on story or driving the scene to its end it's really not very helpful at all.
It's so not sexy and intimate. There are 40 people in the room. There's a guy with his belly hanging out, with a boom in your face. It's really very technical. I think doing a love scene is tougher than doing a fight scene. It's so staged and you can't put light on her face and you have to hit the mark.
I really just enjoy listening to talk [to John Hurt and Charlotte Rampling]... not even about acting or anything. It's interesting because I felt really connected to all these people very easily. They're all very open emotionally, like we're in the scene together, so you never feel like anyone's acting.
Working on "Pieces of April" with Peter Hedges at a young age was really very powerful. It was a different kind of work. We shot that in 10 days and Peter was right there with us, right next to the camera. It was very grounded and I really liked working that way. I liked the way he directed us.
With 'Honeymoon,' it was so intimate, and we literally shot it in something like 20, 24 days. Everything was very rapid and very fast, and so all of us submerged into the deep end and only really came up for air once we had wrapped.
John Carpenter was very gentle. He was very tender. He really liked talking to actors. He really wanted you to be comfortable. He waited until you were ready to do the scene, and he has a lot of confidence.
The first scene I ever appeared in, it was the first scene I ever shot [during my] first day on set. I walk up to my mom with a plastic bag over my head and she says that her clothes better not be on the floor, not that a plastic bag is not a safety hazard or anything. I think it's a really cute scene and also just a very vivid memory.
The Ramones were a great bunch of guys. They were very quiet, very shy. They were a little in awe of the filmmaking process, probably because we started at 7 a.m. I do remember the very first day of shooting, I met them and did the scene in the bedroom where Joey sings to me, and they were all scattered around my bedroom in my little fantasy scene. That was the first scene we shot of the movie. That scene is kind of a strange way to start a movie. "Okay, get undressed, and these weird guys in leather jackets and ripped jeans are going to sing to you."
A comedy scene can't really have two weirdoes in it. It doesn't make any sense that way, so you need someone to ground it and call out what's unusual about this person and this scene. Early on, I got pretty good at doing that, and I felt pretty comfortable doing that.
I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.
There was a scene cut out of Big Fat Liar where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.
There was a scene cut out of 'Big Fat Liar' (2002) where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.
I think it's much harder to have a long dialogue scene than an action scene. An action scene is long, but it's not really hard. It's kind of boring, really. It looks good at the end, but to shoot it, it's not the most exciting thing.
It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.
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