A Quote by Mitchell Hurwitz
Even on the old show, we would maybe not all be in the scene. Sometimes there would be a penthouse scene and everyone would get together. But, even in that context, it would be because somebody was missing.
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If somebody came up with a really good idea, everyone would back it. Especially when we did the show, we had a real dedication that, if you were in somebody else's scene, everyone worked their hardest to make that scene good.
A nightmare would be when somebody is trying to be funnier than everyone else. And you've got a group scene or two-person scene, and one person decides, 'I'm the funny in this,' and bulldozes everyone else, and they make sure they're the reason everyone loves the scene.
I get very close to people when I'm shooting them. We would go and shoot a scene with Lucy, and I would spend the whole time telling her about Rob. Then I would go shoot a scene with Rob and tell him all about Lucy. Eventually they wanted to know each other. These are two people who would never have overlapped in any other way or context. We brought to the garden at Rob's office and just sat and watched what unfolded. I remember weeping behind the camera, because I was so moved by the way they connected.
I have always been good at auditioning, but maybe because I had a good trick at the beginning. I would pretend that my agent gave me the wrong scene or lines. They would take pity on me and hand me the right scene. I would act like I had never seen this before - and then do pretty well considering I had already rehearsed it.
I would get adult acne when it was somebody really famous I had to interview, so sometimes I would have to look straight at the camera because I couldn't look sideways or profile, because it would show.
Sometimes it wasn't even when we were knocking on doors, it would be, the phone would ring and somebody would say, "God told me to do this," and it would be exactly the perfect timing to help us with the next step of the filmmaking.
If it wasn't a chaotic scene, if it was an orderly evacuation, we would be able to give you specifics about what our preferences would be, such as evacuating first the disabled, then the elderly and infants. That would of course be our preference. But the reality on the scene does not permit that. We're going to do the best we can with the resources we have.
I had three toy buckets, and I would put hot water in them because we weren't allowed to sit in the jacuzzi - we weren't old enough - so I would charge people $1, and everyone would line up, and everyone would sit in this disgusting hot water-sand-filled thing, and I would get $1 and go to the snack bar and get an Oreo.
I think my ideal man would speak many languages. He would speak Ibo and Yoruba and English and French and all of the others. He could speak with any person, even the soldiers, and if there was violence in their heart he could change it. He would not have to fight, do you see? Maybe he would not be very handsome, but he would be beautiful when he spoke. He would be very kind, even if you burned his food because you were laughing and talking with your girlfriends instead of watching the cooking. He would just say, 'Ah, never mind'.
I would spend a lot of time setting up an accident scene where it appeared that I had seriously hurt myself - hedge-cutter, ketchup, that sort of thing. When my sister happened upon the scene of horror, I would lift my head and pathetically plead for her to 'get Mum'.
I would watch movies on the couch in my house. If I saw a scene played by a woman or a man - it doesn't matter - a scene I really liked, I would right away run to the mirror and repeat it.
I also think within the scene, a specific scene - if I were to play a part that I played 10 years ago now, my interpretation of that scene would be totally different. I would be making different choices. Because I can't somehow subtract all of the experiences that I've had in my life. And it's fascinating to see, because somewhere I'm very reflective in that. You know, I've been playing basically actually close to 40 years old, so I'm somewhere lost in age in this movie. But it's been fascinating to see that I can't subtract that time.
In these interviews, they've been asking me for a while, 'If you could do a scene with anybody that you haven't done a scene with yet, who would it be?' It would be Christian Stolte. He's the most incredible actor. He is always the smartest person in the room.
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.
I would ask to tweak stuff during the action, because I thought Elektra would more likely express herself with a slap, for example. I wanted to keep the characteristics of my character even during the fights and express the violence as she would do it, not like somebody else would.
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
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