A Quote by Taylor Schilling
There's always that jumping off place when you're doing a sex scene when you can tell the crew's like, 'OK, it's comin'. At this point, it's actually not a big deal.
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In terms of spiritual development, it's not a big deal whether you have sex or not, the question is more of who you have sex with and what their energy is doing to you.
I've done so many sex scenes in my life and it's much easier to do a funny sex scene than a sex scene that is supposed to look like it feels.
I was doing a scene in a medical tent in 18th-century battle dress, pantaloons and a ripped shirt, and the guy from the crew kept asking me if I was OK, if I was too cold. I told him, 'Are you kidding? I'm from Wales!'
There's a scene where Diana is having her first dinner at Balmoral, my first big scene with everyone. I didn't really know anyone super well at that point. I had this big story to tell about hunting, a real tongue twister. And I just couldn't say it.
To me the acid test was always the crew, and if the crew liked you, you're OK.
My first ever sex scene in a movie was in 'Superbad.' Because I was 17, for legal reasons my mother had to be on the set. It was real awkward, but it worked out OK because when I watched the movie with her, the sex scene wasn't awkward because she'd been right there when it happened.
You always hear actresses talk about how unromantic it is to act a love scene or a sex scene - which it is. You're doing it with all these lights on and cameras flying around and people on the set.
When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.
It's so easy to disappear into your character because there isn't all this fuss around you, and we keep a closed set, and closed off to all crew members, even, unless we're cut. A lot of times, you're doing a scene in a movie and there are literally 35 people standing behind the camera all waiting to do their job, but here they have to be off the stage. On The Office, it is very much just the actors, a cameraman and a boom operator, like a real documentary, like we really are being documented.
Giving a reader a sex scene that is only half right is like giving her half a kitten. It is not half as cute as a whole kitten; it is a bloody, godawful mess. A half-good sex scene is not half as hot; it actually moves into the negative numbers, draining any heat from the surrounding material.
No, we didn't shoot... in the ones that I did there were hardly any sex... there were suggestions of sex scenes but we never actually shot a sex scene as such.
A baby's existence for the first three months is a one-way street. One person is doing all the work and the other is crying, sleeping and pooping. So the first moment when you're actually able to do something and they acknowledge your presence, that's a big deal. A very big deal.
If you have nothing to hide, if you're actually working for eight hours, or 10 or 12 hours, however long people decide to work, it's OK to have windows around conference rooms, it's OK to have cubicles. Because you're actually working. If you're not working, doing social media and spending half the day for personal stuff, then an environment like this will actually bother you.
When I first started out on the soap, I was more theatrical, like a stage actor, a little bigger than life. As I did more and more Love Of Life, I became more natural. I learned the value of underplaying. It was a great training ground for me. There was a big difference in my style of acting from where I started with that show and where I ended, and where I ended was a good jumping-off point for doing nighttime television and movies.
We had a very energetic floor manager and he was always jumping around all over the place. The director would send down messages like, Can you tell that actor to calm down?
The work is primarily subject-driven. All decisions flow from there. The photographs are all made in response to a unique subject, in particular context, at a specific moment in time. The thoughtful preparedness that defines my working method actually facilitates spontaneity and allows me to embrace surprise. I always have a game plan but view it as merely the jumping off point.
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