A Quote by William Fichtner

Sometimes the scene is a sad scene but you have to play it with a laugh to find out that that doesn't work or that there's really a part of that in it, and that's what rehearsal is for, to take that time.
In general, I don't even have the luxury of rehearsal time on most films that I make. It is just a scene-by-scene full cast read through. It's very much just doing the rehearsal sometimes the day before, at the end of the day, but just on the spot as the scene unfolds.
Occasionally, as an actor, you're not... Sometimes, at least for me, I'm not fully in the groove until the second or third take, in which I would not want to just stop. If it's a scene that takes a lot of work and time, sometimes the scene gets better with time, and sometimes it gets exhausted. I think it just depends on the scene.
Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.
But for me, you also have to be conscious of what is going to play. And that includes playing with. Sometimes it's just a vibe. It's what's going to make this scene work. And sometimes there may be something that restricts you that has to do with something that maybe is historically accurate. And then you have to weigh that decision and give up something for a scene to work.
When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.
A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
Most actors work on a scene, I try to find out who the character is. So when a scene or a moment comes, I react the way she would react.
There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.
I feel like if you shoot one scene all day long or you take two days to do a scene, that scene is going to be stale.
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
When you're watching a show like this or watching a movie, sometimes when you have big music in a scene, it tends to push the viewer out of the scene and makes someone feel like an audience member rather than like they're in the scene.
I'm an emotional actor. When I'm doing a scene, I really believe it. I live the part as long as I'm in the scene.
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