A Quote by Waheeda Rehman

If you understand a scene well, it is not hard to translate it onscreen. — © Waheeda Rehman
If you understand a scene well, it is not hard to translate it onscreen.
When you translate the American writers who are best with dialogue into German - someone like Elmore Leonard, or Tom Wolfe, who's also quite good with dialogue. It's very hard to translate them well.
You can write ten versions of a scene, and then, on the day, discover that something in the original scene worked. It's hard on writers. Hard on actors, hard on editors, hard on me, hard on the producers, who require patience and confidence. But I can't get to the end without going through this process.
You have to strike hard from the beginning and create a depressurizing zone between the viewer's own life and the one onscreen. The creators of James Bond got it right: the attention-grabbing scene of each Bond movie is the very first one, before the opening credits.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
I don't read in Chinese very well. Google Translate helps with that. It's cool that I can upload a photo and translate the text from it.
I understand that I have to prove myself as a manager. I think I have the potential. I have a lot of knowledge to share, and I think I'm well equipped to translate my thoughts to the players.
I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world
Well, it definitely comes as a challenge to act as enemies onscreen when you bond with the opposite person very well off-screen.
I fit well in the comedy zone. A plump and chubby figure goes well with most onscreen characters... it adds more value to what I say.
I want people to do what they want to do because when they feel comfortable it seems to translate better on screen. It is when you put people in a straitjacket that it doesn't seem to translate very well at all. The individuals I work with are usually people I know.
Translators have to prove to themselves as to others that they are in control of what they do; that they do not just translate well because they have a "flair" for translation, but rather because, like other professionals, they have made a conscious effort to understand various aspects of their work.
When I came to North America, it was hard. It was hard to understand, hard to get someone to understand me. I only knew Russian. I studied French in school, but it didn't help. I forgot most of that.
I often tell my students that you can't worry about the end of an improv scene because the end is not up to you. You just play as hard as you can until someone changes the scene. The scene has changedthe end is not up to us.
It was lucky that Ralph [Fiennes] is someone who understands both film and theater and we were able to understand that scene so well before we took it to the set.
It's one of those scenarios where no, I never imagined that I'd be directed in a love scene - not even a love scene because it's kind of a hard-core sex scene because it's kind of just purely played for this carnal venting.
I think it's much harder to have a long dialogue scene than an action scene. An action scene is long, but it's not really hard. It's kind of boring, really. It looks good at the end, but to shoot it, it's not the most exciting thing.
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