A Quote by Sean Dyche
The early music I heard was Top of the Pops. But in bedrooms, around the house with my brother playing the Sex Pistols, Sham 69 and the Ham and all these groups then going into that sort of mod turnover scene and then going into the New Romantics scene the coming of age myself in the mid-eighties and into the noughties, it was changing.
Related Quotes
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.
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.
But for me, you also have to be conscious of what is going to play. And that includes playing with. Sometimes it's just a vibe. It's what's going to make this scene work. And sometimes there may be something that restricts you that has to do with something that maybe is historically accurate. And then you have to weigh that decision and give up something for a scene to work.
It's always different for whatever the scene asks for but usually, I listen to music before the scene just to get into the mood, mellow myself out and really put myself into the character's shoes. I zone out from everything going on around me and just focus on what I have to do. From there, I just let it happen.
My vision of punk rock was these dudes who were spitting on the audience and moshing. That's why I kind of left that scene. Then I see all these people around my same age or between 17 and 25 that were making music themselves in their own town. They weren't just singing, but creating. I see them putting out this music where there are tons of women involved in the scene and involved in the bands.
[While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.
I started playing guitar at the age of 8 or 9 years. Very early, and I was like already into pop music and was just trying to copy what I heard on the radio. And at a very early age I started experimenting with old tape recorders from my parents. I was 11 or 12 at that time and then when I was like 14 or 15 I had a punk band. I made all the classic rock musician's evolutions and then in the early nineties I bought my first sampler and that is how I got into electronic music, because I was able to produce it on my own. That was quite a relief.
Music is a huge inspiration to my style. I first got into it when I was 10: the new wave mod scene.
If you're getting ready to do a really emotional scene then, right before it, you're probably not going to be outside playing basketball.
When I don't know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don't usually come up with a similar kind of thing.
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.
You can't feel sorry for a scene. If the movie works without the scene, then you don't need the scene.
It was (Nick Frost's) first-ever bedroom scene and my first-ever bedroom scene...not that we were actually doing much, but we did have to lie sort of semi-nude under the sheets. And he was incredibly sort of vibrant and outgoing, but then he suddenly got very, like, 'I'm engaged and I'm getting married!' And I was, 'Okay, that's good. I just won't be touching you, then!'
I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.
As long as everyone is playing for the scene or the movie, rather than themselves, then you're going to have something really good.
I think you're sort of always waiting, wondering when the word "cut" is going to be said when you're doing a scene. Like you're there and you're doing the scene and you're always sort of like, ‘Okay. Are they going to call cut? How far are we taking this? Are they going to call cut?’
Related Authors
Bill Gates Quotes
American
Businessman
Charlie Munger Quotes
American
Businessman
Dieter F. Uchtdorf Quotes
German
Businessman
Henry Ford Quotes
American
Businessman
Jim Rohn Quotes
American
Businessman
Joseph B. Wirthlin Quotes
American
Businessman
Mark Cuban Quotes
American
Businessman
Mark Zuckerberg Quotes
American
Businessman
Peter Drucker Quotes
American
Businessman
Richard Branson Quotes
British
Businessman
Russell Simmons Quotes
American
Businessman
Sam Altman Quotes
American
Businessman
Steve Jobs Quotes
American
Businessman
Tom Peters Quotes
American
Businessman
Walt Disney Quotes
American
Businessman
Warren Buffett Quotes
American
Businessman