A Quote by Jed Mercurio
It was a strange feeling, filming a night scene in Selly Oak High Street with a television crew and famous actors in tow, when twenty years ago, at that time of night, I would've been stumbling around in search of a kebab.
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There is a moment that often comes to mind when I'm reflecting on filming 'Trinkets.' It was during our second season; there is a scene where Moe, Elodie, and Tabitha are riding scooters on the street at night and just feeling so free and connected to one another.
No matter when you had been to this spot before, a thousand years ago or a hundred thousand years ago, or if you came back to it a million years from now, you would see some different things each time, but the scene would be generally the same.
There's this scene in "The Night of the Hunter" when the kids are downstairs, and you have the feeling that they're both in a room and at the same time it looks remote. And you wonder, How can you give the effect of both "inside" and "outside" at the same time. And you realize, by watching it many times, that around the scene there's this black edging.
Paul and I were both struggling actors. One night he would serve me in a restaurant, and the next night I would serve him. It was what out of work actors did.
The only thing that I would say to anyone doing late night shows is - it took me a couple years then - but when you leave the studio, it's over. That's what you really have to do. After a long time, I would be like, "Maybe I shouldn't have said this," or "Maybe I shouldn't have shown this." But eventually, I got to, "Ah, f - k it." That's what it was that night, tomorrow's the next night.
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.
Growing up in Texas and Oklahoma, Ben Johnson was more famous than John Wayne to some of us. I knew him. I worked with him on a low budget film years ago, and we'd sit around at night while waiting for a shot.
I also think within the scene, a specific scene - if I were to play a part that I played 10 years ago now, my interpretation of that scene would be totally different. I would be making different choices. Because I can't somehow subtract all of the experiences that I've had in my life. And it's fascinating to see, because somewhere I'm very reflective in that. You know, I've been playing basically actually close to 40 years old, so I'm somewhere lost in age in this movie. But it's been fascinating to see that I can't subtract that time.
Up until about a hundred years ago, the world was dark at night. You got to have a real night so you could sleep.
The whiskey died away in time and was renewed and died again, but the street ran on. From that night the thousand streets ran as one street, with imperceptible corners and changes of scene.
Some bloke came up to me in Tesco a couple of years ago at 11:30 pm and said: 'Excuse me, would you mind telling my son here that you're Uncle Vernon?' I said: 'Get a grip. It's 11:30 at night - what's he doing out of bed? I'm not here to entertain people at this time of night.
In bed at night, I could be reading some book, and I'll come across a sentence that's totally unrelated to some scene I did years ago. But I'll play the scene back in my mind and think, I did that wrong - I should've opened the door more slowly.
If Jesus had been killed twenty years ago, Catholic school children would be wearing little electric chairs around their necks instead of crosses.
Ralph Waldo Emerson once asked what we would do if the stars only came out once every thousand years. No one would sleep that night, of course. The world would become religious overnight. We would be ecstatic, delirious, made rapturous by the glory of God. Instead, the stars come out every night, and we watch television.
I've done that I was touring a couple of years ago with R. Kelly and the Lillith Fair, I would do the late night underground gigs as well because it's always around those times that there was a hot song, either on the radio or in the clubs, it would just be simultaneous.
FACE THE NATION is the second oldest program on television. It began in 1954, fifty-eight years ago. I've been here at the table for the last twenty-one.
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