A Quote by Vignesh Shivan
I feel like I'm on crutches when I have to go by the dialogue sheet. I want the artiste's natural, spontaneous reaction and vocabulary so that it adds a genuine flavor to the scene without which the sequence becomes entirely cinematic.
Related Quotes
Adding two or three chunks of wood to the coals adds a great smoke flavor to meat. I prefer pecan wood, which adds a mellow smoke flavor, but any good wood will work. And most barbecue sections in stores and supermarkets around the country, like Walmart, sell hickory wood, which adds a heavier smoke flavor. Oak is also a good option for a mellow smoke flavor.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
Meditation simplifies our outer life and energizes our inner life. Meditation gives us a natural and spontaneous life, a life that becomes so natural and spontaneous that we cannot breathe without being conscious of our own divinity.
All natural results are spontaneous. The diamond sparkles without effort, and the flowers open impulsively beneath the summer rain. And true religion is a spontaneous thing,--as natural as it is to weep, to love, or to rejoice.
There's often rarely any dialogue in a sex scene. With your fellow actor, it's good to talk about what the unspoken dialogue is, that's happening in the scene. You've got to play something rather than feel self-conscious or exposed.
Like behind the car or in the pub, to do a scene, a proper nice dramatic scene, it's always a treat. And they're usually shot as one, so you've got a big chunk of dialogue to learn, and you feel like you're working.
My style is the paparazzi approach which is spontaneous, unrehearsed, off-guard. The beauty I'm after is inherent, more natural. Genuine emotions, real emotions, that's what I look for.
Dance design is not simply one element; it is that without which ballet cannot exist. As aria is to opera, words to poetry, color to painting, so sequence in steps - their syntax, idiom, vocabulary - are the stuff of stage dancing.
If cuts have to be made, the question then becomes which expenditure adds the least value? This is possibly what drives companies to reduce their advertising expenditure - simply because they do not understand its full value and especially as it is usually the single biggest investment on the balance sheet.
'Love' has that Kubrick tonality to it, but this is not a Stanley Kubrick movie - there will never be another. At the same time, 'Love' has a modern feel. For example: In one scene, these astronauts go through a wormhole sequence, and you feel like you're being slapped around inside your head by a sonic boom.
It seems to me that evolution adds greatly to the wonder of life because it takes it out of the realm of the arbitrary, the exceptional, and links it to the sequence of natural causation.
Because of the way that I work with the actors and because a scene is not in this rigid and literal interpretation of something written, I can constantly change stuff, which means I can get a scene absolutely perfect, and then when we go to shoot it, the requirements of the shot mean it would be useful to extend the dialogue or take a line out or swap things around. So the camera doesn't serve the action. The action serves the camera. That's important. So it becomes more and more organic and integrated.
Horseradish is one of those perk-me-ups. You can use it in a cocktail sauce, you can bread fish with it - it loses its punch when cooked. It's a 'What is that?' flavor. It adds depth of flavor to things.
Actually, one Anthem cue is a good example of the process. There is a four-minute sequence of music in Anthem, which underscores a prison sequence, and it lines up with five different, smaller scenes within one large scene.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
For me, emotion comes first. If I have to change a scene, invent a scene, change dialogue, or put Graff by the lake in order to feel that dynamic, and the end results feels like 'Ender's Game,' then hopefully it works.
Related Authors
Alejandro Gonzalez Inarritu Quotes
Mexican
Director
Ava DuVernay Quotes
American
Director
David Lynch Quotes
American
Director
George Lucas Quotes
American
Director
Guillermo del Toro Quotes
Mexican
Director
John Waters Quotes
American
Director
Judd Apatow Quotes
American
Director
Martin Scorsese Quotes
American
Director
Nicolas Winding Refn Quotes
Danish
Director
Oliver Stone Quotes
American
Director
Peter Jackson Quotes
New Zealander
Director
Quentin Tarantino Quotes
American
Director
Ridley Scott Quotes
British
Director
Steven Spielberg Quotes
American
Director
Werner Herzog Quotes
German
Director
Woody Allen Quotes
American
Director