A Quote by Yorgos Lanthimos
I enjoy sometimes focusing on a character in a scene that's not actually doing the main action or the talking.
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I enjoy doing an action scene. I'm not a purist as far as films go. If you want to do sex, great. As long as you do it well.
I'll tell you what I really enjoy. We all go to the movies, we all watch television, we know what they're about, how they work. When the main character is a cop or a spy, it's very exciting, but I also very much enjoy when the main characters are nobodies - a trucker.
When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'
The peace that comes with surrendered action turns to a sense of aliveness when you actually enjoy what you are doing.
I personally like to talk to people when I'm not doing a scene, still acting as if I'm in Gotham when I'm on set because I don't really like to break character, since I sometimes get distracted. I may get distracted when I'm talking to people and having fun; then I have to check myself.
I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say - but the scene itself, the character that you are talking to.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'
I don't think action for action's sake is so fun, but when it helps tell the story, I love doing a good fight scene.
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.
I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.
Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.
The key is to remember a sex scene is a scene of dramatic action and psychological development. You need to pay attention to emotion and to a character's self-awareness or lack of self-awareness.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
Sometimes I become attached to a character because I've gotten to explore him for so long, like in the case of Ben, but sometimes I fall in love with a throwaway character who exists for only one scene in a video game like The Drunken Villager in 'Diablo III' or Sandal in 'Dragon Age.'
I played this character twice in live action, and now I've become an animated character. It was actually fun to see myself drawn - I've never been a drawn character before.
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