A Quote by Scott Derrickson
People always complain that superhero movies end with a big fight scene where they're tearing up a city, and there's a portal opening up, and they have to close it... I wanted to have a climactic scene that subverted those familiar ideas.
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I often tell my students that you can't worry about the end of an improv scene because the end is not up to you. You just play as hard as you can until someone changes the scene. The scene has changedthe end is not up to us.
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
A "portal" is an opening (door, window, or opening). A heavenly portal or a glory portal is a heavenly opening through which God's goodness manifests. I have seen a portal in a vision and it was a circular opening where a column of light poured down into the earth. There were angels ascending and descending.
In each scene, the writer sets up a situation, which brings a conflict as well as either a small victory or a loss at the close of that particular scene.
Sometimes you will do a close-up for a scene in the morning where you are totally distraught, then shoot the rest of that scene seven hours later. How do you hang on to that feeling all day without burning up, without going so far that you have nothing left to give when the cameras roll again?
I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.
I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.
I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.
There is a big difference between performing in WWE before thousands of people in an arena and acting in a scene with a camera close-up on your face.
When I saw the scene in 'Close Encounters,' and Richard Dreyfuss's son is screaming at him - that's a heartbreaking scene. And I remember being devastated by 'E.T.' Or when E.T. started to get sick. That broke me up a little bit.
The ACLU spent this entire holiday season protesting public displays of the nativity scene. Yeah, that's the problem with America right now: Public displays of Christ's birth, that's the problem. It's unbelievable to me. The ACLU will no longer fight for your right to put up a nativity scene, but they'll fight for the right of the local freak who wants to stumble onto the scene and have sex with one of the sheep.
I like the dueling club scene, where Daniel and I fight with our wands. I thought it was a brilliant scene to shoot. I think the end product looked really good.
I do an opening in 'The Glory of the World' play at BAM, and then I go up to the high balcony in the back and watch the bulk of the play, but then I have to leave my seat about seven to 10 minutes before the end of that final big scene...and it's a bummer.
Superhero movies have become a genre unto themselves, and I didn't really grow up on superhero movies. I grew up on genre movies before superhero was a genre.
Rod's always opening doors for me, but I usually tell him to walk through first. Otherwise, if we're at a restaurant and I'm in front, the paparazzi end up getting a big giant close-up of me, and then he's trailing behind, looking like my little child!
The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.
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