A Quote by Stan Laurel

Sight gags had to be planned; they required timing and mechanics. Occasionally, spontaneity would arise in the shooting of the scenes. — © Stan Laurel
Sight gags had to be planned; they required timing and mechanics. Occasionally, spontaneity would arise in the shooting of the scenes.
My first acting lessons were Shakespeare. The first time I ever started working with a coach was doing scenes from 'Measure for Measure,' which were tough dramatic scenes. And then 'Taming of the Shrew,' which required comedic timing. And that's the kind of stuff I love.
I loved shooting 'iGo to Japan' because we got to be outside a lot, and our call times were really late because we had so many night scenes. It was pouring rain, so the cast would huddle together in between takes and drink hot chocolate. Shooting that episode was such a great bonding experience.
I went to see Chicago after I finished shooting, and say what you want about it, but that thing was so meticulously planned. It was planned like NASA planned its trips to the moon. It made me feel like some sort of horrible dilettante.
I never had any apprehensions while shooting for intimate scenes, we are all actors. The only apprehension would be about who are the people who are working on that particular project.
We became very good in developing comical sight gags when we made 'The Flintstones.'
I love sight gags and broad stuff, but you can get to such a subtle degree, especially with CG animation.
The timing of the electrical failure seemed dramatic and perfectly correct, as if the lights had said, "You have no need for sight. Listen.
'Terrible' is not a word I would use in shooting romantic scenes with Scott Speedman.
I am all in favour of spontaneity, providing it is carefully planned and ruthlessly controlled.
I do not have a good control of running sight gags. I laugh like hell when I see them, but I don't know how to invent those jokes.
Most of the faint intimations of immortality of which we are occasionally aware would seem to arise out of Art or the materials of Art.
Scenes change while shooting. Nowadays, while you're shooting the movie, you're cutting at the same time.
Mississippi Mermaid was a very special experience because we only had the dialogues for the scenes we were shooting the night before.
Real greatness comes from that sort of spontaneity of the moment that takes it into another level. That can never be planned; it happens or it doesn't. And you can't force it.
When I was writing Dune there was no room in my mind for concerns about the book's success or failure. I was concerned only with the writing. Six years of research had preceded the day I sat down to put the story together, and the interweaving of the many plot layers I had planned required a degree of concentration I had never before experienced.
I had worked for a lot of directors whose work I didn't respect, and as I was editing material, I was thinking about how I would have shot the scenes and what I would have done to make the scenes better. After several years of that, I got to the point that I was pretty confident I could sit in the director's chair.
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