A Quote by Paolo Giordano
The scene was set. All that was required was an action, a cold start, instant and brutal as beginnings always are.
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Certain things can't be approximated, so I'm always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful... Brutal language isn't necessarily the most truthful way of describing a brutal moment.
London is completely unpredictable when it comes to weather. You'll start a scene, and it's a beautiful morning. You get there at 6 in the morning, set up, you start the scene, start shooting. Three hours later, it is pitch black and rainy.
It's beginnings that are hard. I always begin with a great sense of dread and trepidation. Nietzsche says that the decision to start writing is like leaping into a cold lake.
You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'
I'm a miracle man, things happen which I don't plan, I've never planned anything. Whatsoever I do, I want it to be an instant action object, instant reaction subject. Instant input, instant output.
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.
He walked out into the cold morning asking himself this heretical question: Can you start measuring a minute at any instant you wish?
There sure are a lot of these 'instant' products on the market. Instant coffee, instant tea, instant pudding, instant cereal... instant dislike.
If you take a reasonable amount of vitamin C regularly, the incidence of the common cold goes down. If you get a cold and start immediately, as soon as you start sneezing and sniffling, the cold just doesn't get going.
All directors on all sets behave slightly differently depending on what the scene is. For example, if you are doing a love scene, which is intimate then the director is likely to be intimate. If you are doing a scene where everyone is mucking around and laughing then the director is likely to start with that. If you are playing a scene which us incredibly heavy and everyone getting killed then there are probably not many laughs on the set.
If something isn't working, if you have a story that you've built and it's blocked and you can't figure it out, take your favorite scene, or your very best idea or set-piece, and cut it. It's brutal, but sometimes inevitable.
The keen spirit
Seizes the prompt occasion, makes the thought
Start into instant action, and at once
Plans and performs, resolves and executes!
We don't believe start-ups are the private preserve of only garage start-ups... The corporate garage is going to be the scene of a lot of action.
Working with the editor on the set means that it is possible to keep track, at every moment, of the exact temperature of the trajectory of the scene - and know precisely what is required to continue, or precede, the action already shot. Like building a giant jigsaw puzzle. This is a freeing procedure because one is divested of all the options that might otherwise hamper one's choices. Clarity is possible. And that means one can relax into each shot, knowing the clear boundaries of where it might end or begin. And with relaxation, comes play.
Because of the need to remove all modernism, we stayed in the middle of nowhere all day long, living out of tents. It was cold. It definitely set the scene.
You always hear actresses talk about how unromantic it is to act a love scene or a sex scene - which it is. You're doing it with all these lights on and cameras flying around and people on the set.
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