A Quote by Robert Ludlum
Visions of one powerful scene after another parade across his inner screen, each exploding with drama and meaning
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The great thing about making an ensemble show is it becomes modular. It might work on the page to cut from one scene to another, but on the screen, it's more powerful to take that second scene and move it first or move it later.
...visions are messages from the Great Spirit, each for a different purpose in life. Consequently, one person's vision may not be that of another. To have a vision, one must be prepared to receive it, and when it comes, to accept it. Thus when these inner urges become reality, only then can visions be fulfilled. The spiritual side of life knows everyone's heart and who to trust. How could a vision ever be given to someone to harbor if that person could not be trusted to carry it out. The message is simple: commitment precedes vision.
In scene after scene, meaning sneaks in and sometimes roars.
It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.
There’s a reason Mia is currently an only child. Family drama takes on a whole new meaning when they’re feuding gods who can’t stand the sight of each other and always try to kill one another whenever they’re in the same room.” – Kat
One of the tricks is to have the exposition conveyed in a scene of conflict, so that a character is forced to say things you want the audience to know - as, for example, if he is defending himself against somebody's attack, his words of defense seem Justified even though his words are actually expository words. Something appears to be happening, so the audience believes it is witnessing a scene (which it is), not listening to expository speeches. Humor is another way of getting exposition across.
One rabbi compared wise men studying the law to children tossing a ball to one another: a first sage said the meaning was this, another said the meaning was that, one gave his opinion, another begged to differ.
Obviously, when you do something with drama and comedy in it - and by that, I mean a scene that has drama and comedy in it - you know the minute you introduce music, you're either scoring the drama or you're scoring the comedy, and therefore the scene becomes either dramatic or comedic.
Ideas are powerful things, requiring not a studious contemplation but an action, even if it is only an inner action. Their acquisition obligates each man in some way to change his life, even if it is only his inner life. They demand to be stood for. They dictate where a man must concentrate his vision. They determine his moral and intellectual priorities. They provide him with allies and make him enemies. In short, ideas impose an interest in their ultimate fate which goes far beyond the realm of the merely reasonable.
I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative switftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.
I think that, just like the art scene and the music scene is exploding in LA - I mean, let's face it: if you want to be an artist you cannot live in New York anymore because it is too expensive…
If you're watching a parade, don't follow it. It never changes. If the parade is boring, run in the opposite direction. You will fast-forward the parade.
I did 'Echo Beach,' a surfing drama that meant I was often topless. Next came 'Demons,' and the opening sequence had me in my boxer shorts; and then there was a scene in 'Trinity' with me walking around in boxer shorts. It was only one scene in each series.
The universe was exploding, each particle away from the next, hurtling us into dark and lonely space, eternally tearing us away from each other - child out of the womb, friend away from friend, moving from each other, each through his own pathway towards the goal-box of solitary death.
We expect him to take up a lot of space in his gangly experiments with life, and we teach him, through task, work, game, activity, and experience how to use that space. Above all, we give him mentoring and supervision that respects and teaches his gifts, his visions, even his shadowy inner demons
The inaugural parade is like an extension of the president's personality, .. Dwight Eisenhower, for example. A conservative guy. A military man. Short and simple was what his inauguration parade was all about.
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