A Quote by Paul Eenhoorn

I walk into a scene, and I do the scene. That's my job. I don't have an objective. I have the words, and I have whoever I'm playing with. — © Paul Eenhoorn
I walk into a scene, and I do the scene. That's my job. I don't have an objective. I have the words, and I have whoever I'm playing with.
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.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
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.
I don't want to give any lines to anybody because otherwise they come out like bricks from their mouths. The important thing is the meaning of the scene, not the words you use, and I prefer that you find your own words to express the scene.
I enjoy some physical stuff. But if I had a choice between playing a scene where it's raining, it's terribly cold, I'm wet and I'm being drowned and playing a scene with dinosaur eggs in a laboratory, I'd probably take the latter. It's warmer and generally more comfortable!
I'll usually see a scene in my head, playing like a movie trailer. After I've written that scene, everything takes off from there.
I have so many ways I can explain the ballroom scene. But the essence of the ballroom scene would be elegance, extravagance, and fabulousness to its 100 per cent. It's a place where you can be whoever you want to be inside of already being who you are.
Sometimes I use words to throw you from once scene to the other, and sometimes I use words to pull you from one scene to the other. You might not be aware of it, but I may have overlapping words one way or the other. So, I'm actually using words.
My job on The Gunslinger Born was to take Stephen King's novel and transform it into a detailed, seven issue, scene-by-scene story.
I feel like if you shoot one scene all day long or you take two days to do a scene, that scene is going to be stale.
I was only 14 when I started playing the east London rave scene. At the time, I was so captivated by everything. I didn't ever wanna progress out of that scene.
You can't feel sorry for a scene. If the movie works without the scene, then you don't need the scene.
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.
I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady… This particular scene is the most beautiful scene ever written.
When you act a scene with Sidney Poitier, he listens intently to every word you say. You can feel your words hit him. He makes the scene utterly real.
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