A Quote by Seann William Scott

I think I've done every disgusting thing you can in a film. — © Seann William Scott
I think I've done every disgusting thing you can in a film.
You think homosexuality is disgusting? Then, it follows as the night the day, that you find sex disgusting, for there is nothing done between two men or two women that is, by any objective standard, different from that which is done between a man and a woman.
I think that's the real shame: We spent the last 48 hours talking about these disgusting, disgusting comments and disgusting behavior instead of talking about hurricane relief or what's going on in Flint, Michigan. It's just appalling to have to be dealing with such nonsense and such disgusting, you know, criminal speech.
Every time that I'm challenged with a film I think that I haven't learned anything, that every film is different and that every thing that I have learned is useless in this new adventure.
Well, "disgusting" doesn't refer to the books but to the subjective reaction of the person making the complaint. I don't think that anything is disgusting per se. These words "disgusting" and "filthy," etc., have prevented us from undertaking any scientific experimentation in sexual matters.
It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.
simon: that's disgusting! me: what's disgusting? simon: you know. you put your thing in the place where he, um, defecates.
I scored one film by myself, which was the hardest thing I think I've ever done.
So I think I'll say the obvious thing: theater is ephemeral. When a production is done, it's gone forever. You can take pictures of it. You can make a film of it. But it's not the production. It's not the same thing.
Frank's really different from everything I've done. Maybe the one thing that's the same, and the thing that I tend to do, is that I think I can create an intimacy with the characters, like a sense of presence with the people in the film, and that's what I tried to do in 'Room' as well.
I adore book-to-film adaptations when they're done well, and I'm more lenient than many readers when it comes to what counts as 'done well.' For me, the most important thing is that the film maintains the spirit of the original book.
Every film I've made has a kind of frustrated love story in the center of it. They were people who saw life from opposing points of view, which has been in every film I've ever done. It had all the ingredients of the kinds of films I like to do.
People looked at my early pictures and called them the most disgusting things ever, and now 'Hairspray' is being done at every school in Britain and America.
The only distinction I'd make is between film and telly, I guess. "Film," "movies," and "cinema" are all synonyms as far as I'm concerned; but telly is different. It's just a plodding we've-done-this-scene, we've-done-that-scene and it never becomes this new other thing.
Ah, 'Pather Panchali' was the most inspiring film that I wrote music for, and it was so spontaneously done. I saw the film, composed on the spot, along with myself and only four other musicians, and everything was done within 4-1/2 hours, I think an all-time record anywhere.
'American Graffiti' stayed in my mind, but I don't think to this day I've done a film that captured that same level of melancholy. It was so well done. Talking about it has given me the idea I might try harder to make that melancholy film!
I was 12 and I remember every­thing. I mean, I had done two films before that. The first was actually with Amy Heckerling. It was so brilliant to work with her on my first film. Atonement was the third one I'd done, and I remember how it felt to arrive on set every day. I remember how it felt to get my wig off at the end of the day. I remember how hot it was.
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