A Quote by Serge Ibaka

The Godfather has, maybe, one good scene. — © Serge Ibaka
The Godfather has, maybe, one good scene.
I loved the Godfather. I thought that was the best interpretation of our life that Ive ever seen. Godfather I and Godfather II - the other one stunk.
The stuff that I got in trouble for, the casting for The Godfather or the flag scene in Patton, was the stuff that was remembered, and was considered the good work.
I'm very particular about the pizza that I eat. Godfather's is still a premium-quality product, and I cannot always find that. It's got to be as good as Godfather's or I won't eat it.
I don't have any godfather, I had to continuously prove myself as a vocalist to survive in the music scene.
I was researching some of the modern-day figures that The Sopranos were moulded on. So many iconic Sopranos moments. James Gandolfini and Edie Falco had an incredible scene together in the kitchen of that house that looked like it was about to explode. That was an iconic series that changed the way we did television. It is also an extremely realistic portrayal of the mafia. Much more so than The Godfather. The Godfather, one of the greatest films ever, but let's face it, a romanticized version of the mob.
I have always been good at auditioning, but maybe because I had a good trick at the beginning. I would pretend that my agent gave me the wrong scene or lines. They would take pity on me and hand me the right scene. I would act like I had never seen this before - and then do pretty well considering I had already rehearsed it.
I was fortunate in the last century to be in the two biggest hits film-wise, "Godfather I" and "Godfather II," and "Lonesome Dove".
I was fortunate in the last century to be in the two biggest hits film-wise, 'Godfather I' and 'Godfather II,' and 'Lonesome Dove.'
You are not just, "This is the way I play it every night." You are constantly finding new ways in, new attacks, "I want to try it this way. Maybe this scene is affecting that scene. I want to attack this scene differently."
I guess maybe I was hired to play in the Doll House because of my dinner scene in The Sixth Sense, which has been scrutinized a thousand times as to whether you know Bruce Willis is dead, or whether I'm talking to myself. I think that maybe if that could be my forte, to do a scene and be able to say it could be read this way or that way.
You know, if James Brown is the godfather of soul then Richard Pryor is the godfather of comedy, period. That man knocked down all those last freedom of speech doors.
Maybe it's good that we are so slow with everything. We were saved from the damages that took place in the last 10 or 15 years in the scene.
On 'Awake,' we would take a couple hours per scene. Whereas on 'Anger Management,' we can take maybe 10 minutes on a scene if we're lucky.
I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.
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.
For me, in movies, it's always a mixed bag. I've never made a movie where I thought, "You were really good in that movie; you were good all the time." No. It's always, "You didn't get it, you didn't do it in that scene, but the other scene is pretty good." So I just hope that in balance there's more good scenes than not.
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