A Quote by Talulah Riley
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!'
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The Ramones were a great bunch of guys. They were very quiet, very shy. They were a little in awe of the filmmaking process, probably because we started at 7 a.m. I do remember the very first day of shooting, I met them and did the scene in the bedroom where Joey sings to me, and they were all scattered around my bedroom in my little fantasy scene. That was the first scene we shot of the movie. That scene is kind of a strange way to start a movie. "Okay, get undressed, and these weird guys in leather jackets and ripped jeans are going to sing to you."
The first scene I ever appeared in, it was the first scene I ever shot [during my] first day on set. I walk up to my mom with a plastic bag over my head and she says that her clothes better not be on the floor, not that a plastic bag is not a safety hazard or anything. I think it's a really cute scene and also just a very vivid memory.
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.
I did my first nude scene in Mildred Pierce, and that was absolutely terrifying, but it was for an important part of the film and for a reason, and it's incredibly powerful. It's not gratuitous. I think the stuff they show on MTV is so much worse.
Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
I got offered to do an OTT film with Nawazuddin Siddiqui two years ago that I was uncomfortable doing because it had a nude scene. I was asked why I can't do it again if I did it before, many didn't realize I've actually never gone nude for 'Ice Cream,' it was just a publicity gimmick.
I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'
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?’
We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.
I really had to come to the conclusion, the sort of humbling conclusion that, guess what, I'm no different than anybody else: I've got to sort of ask for help - not something I ever did, ever. And then part two of that is, like, accept it when it comes, and, you know, believe what people tell me.
I never hit a shot, not even in practice, without having a very sharp, in-focus picture of it in my head. It's like a color movie. First I 'see' where I want it to finish, nice and white and sitting up high on the bright green grass. Then the scene quickly changes and I 'see' the ball going there: its path, trajectory, and shape, even its behavior on landing. Then there is this sort of fadeout, and the next scene shows me making the kind of swing that will turn the previous images to reality.
Every actor has three versions of each scene - the one that you rehearse the night before, in your bedroom, the one you actually get to do when you're filming, and then the one you wish you would have done, afterward.
When someone new comes on and has their first nude scene - and even if it's not full nudity - it's always a weird, awkward setup. We have these famous merkins which are sort of toupees for your delicate areas to make it look like you're naked but cover you up a little bit. But we joke around a little bit with the newbies who are trying that stuff on for the first time.
I think when I was doing my very first interviews, I probably brought a notepad and did ask people my first fifteen questions while sitting in a Starbucks or something horrible like that. And I found that, oftentimes, the most important thing at the very first interview is just establishing a personal connection and developing some sort of rapport so that I can go back to them again, and then maybe again, and maybe again after that.
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.
I've never been in love, but I've always imagined it--weirdly--like some sort of OxiClean commercial. The TV host shows a scene from an ordinary day, and then takes a big old sponge soaked in love and swipes away the stains. Suddenly that same scene is missing all the mistakes, all the loneliness. The colors are like jewels, ten times richer than they were before. The music is louder and clearer. "Love," the host will say, "makes life a little brighter.
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