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You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.
The first things I remember drawing were battles - big sheets of paper covered in terrible scenes of carnage - though when you looked closely, there were little jokes and speech bubbles and odd things going on in the background.
Kissing scenes with a boy or a girl, they're awkward. There's nothing sexy about it. There's a lot of people standing around.
Even when I'm reading a script where I'm supposed to be looking at the lead role, I'll find myself gravitating toward some small weirdo in a few scenes instead. I'm very instinctive like that and I love the challenge of not having a lot of time to create someone who feels real.
The weird thing about working in television is that you only see the people that you're in scenes with.
I think my role, I want to have a presence both behind the scenes and in front of the camera. So I can't say on one particular thing, so I'll just name them all. I'll be the jack of all trades and hopefully decent at one of them.
We went through all the scenes and they became kind of funny and they expanded a little bit and because it seemed to be working so well in the movie, they added a couple of things later on in the movie and that's how it turned out.
Writing the first draft of a new story is incredibly difficult for me. I will happily do revisions, because once I can see the words on the page, I can go about ripping them up and moving scenes around. A blank page, though? Terrifying. I'm always angsty when I'm working my way through a first draft.
I'd be lying if I said I never think about my female fans in certain shots and certain scenes. Like, when I'm topless, I might think: 'This one is for the ladies.'
The romance stuff is easy. A sex scene... that's hard, because you don't know what to do. Those scenes are awkward.
I know publishing now more as an author than with occasional peaks inside those elite offices than as an industry insider. It was difficult publishing a novel the first time around, while working behind the scenes, knowing all that has to happen to make a book a success and to still make the leap as an author.
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. Yes, it's got hard stuff in it, but so does 'Les Miserables' and 'Phantom of the Opera.'
If you gather a lot of stuff, then you write it, write in scenes with dialogue. Somewhere in the middle, rising from all this research like strong metal towers, is your opinions.
There were scenes that just for length purposes, and knowing that the attention span of kids is not great, don't make it much longer than about 90 minutes.
I wouldn't say I see things visually first, but what I do think is important, for a lot of screenwriters, is to not just think about the words on the page, but also the world as a whole and the vibe of the movie, rather than a sequence of scenes written on the page.
I love doing action scenes, there's that great thing when you sort of stop acting because if you're running, you're not acting like you're running, you are just actually running.
Sarah Wayne Callies
In the past I've been very into the falling part, very into the swimming in the dark, deep emotional water. 'Rampart' I really went into it and it took me three times as long to get out of that depression as it did to just do the scenes. I had to learn to give it my all and then go home and laugh.
The interesting thing is that I found scenes which I put together which could appeal to almost every woman, or apply to almost every woman after the war. Falling in love, dancing, marrying.
'Fast & Furious' is a well-oiled machine. Those guys really know what they're doing. The guys that work behind the scenes are just as important as the ones in front of the cameras. They are car enthusiasts. They live and breathe this world.
It means working harder to do the research but I don't really mind - I don't think I have what it takes to chase criminals through back alleys and wade through blood at crime scenes.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
Well first of all, it's hard to shoot a movie and break for a long time and then come back and do, in a sense, one of the biggest scenes that each character had.
I grew up watching movies and being amazed at the animatronics you'd see in stuff like 'The Dark Crystal,' and all those kinds of movies. So, I'm always enthralled with how they can make it all work, behind the scenes, with the visual effects.
I have been accused of making people laugh, maybe when it's not appropriate, during scenes.
After doing the first couple scenes and I got used to being in front of a few people it got easier and easier. In Chasing Amy, I wasn't nervous at all. And in Dogma, the same.
A. P. J. Abdul Kalam
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