A Quote by Paget Brewster

When you're on an ensemble show and you're messing around with everybody every day and you're not in every scene, and then all of a sudden you're in every scene, it's rough.
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.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
Well we took it apart scene by scene. We examined every sentence, every full stop, every comma. He has a most wonderful eye for detail, Roman, and you know, he's a very good artist.
Every day and every scene, it's never the scene that you expect.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
When I worked with Robin Williams, now there is improv! He is just as funny as you think he is. We did at least five or six takes of every scene, improvising every scene differently. He was a riot.
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.
Film and television are so piecemeal. You do one scene, and then you put it to bed, and then you do a scene that comes before. In a play, you have to go from beginning to end every night, and that's harder, but also more fulfilling in a way.
I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.
The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.
Every scene has two people who want two different things, so there's conflict in every scene. You've got to duke it out, and you've got to get the other person to change his or her mind and do it your way.
I became super stressed, depressed and miserable because I thought I was terrible at my job when I could not perform flawlessly every day, every scene.
Every day, there's that tension and the pressure. Each scene that you shoot is like getting to that next step, but there's still that mountain to climb. So it's not like one day is harder or one scene is harder. They are all equally challenging.
Not every director does this, but I did: I made a list of every shot you're going to set up for every scene in the script.
When everything is added up, the frequent blows weighted against the sporadic triumphs, this is I have to say not just a vocation, it's a great gift. But you also know this, for your work, for your passion, every day is a rededication. Painters, dancers, actors, writers, filmmakers. It's the same for all of you, all of us. Every step is a first step. Every brush stroke is a test. Every scene is a lesson. Every shot is a school. So, let the learning continue.
This site uses cookies to ensure you get the best experience. More info...
Got it!