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I got a lot of energy from directing the film 'Ladies In Lavender.' You wonder if you have the stamina because as an actor you can lounge around the trailer during the scenes you're not in, but as a director, you're there from first thing in the morning to last thing at night every day of the week. I found it incredibly energising.
The newly released movie 'Noah' features a retelling of the creation story that clearly depicts Darwinian evolution transforming a single-cell organism into a monkey. The movie also seems to show magic in scenes more reminiscent of the occult than of the Bible story.
I'd like to do the young cadet thing again for sure, but that's why I wanted to do this, to see if I could do it. I took the scenes out of the script and put them together and read them as one little arc, story and that seemed to work.
I think we've shot scenes from every angle directors can think of to make it look like different villages. I've directed a couple shows on that set and believe me, it's impossible not to duplicate some camera angles.
I don't feel comfortable with violence, and I'm not sure that I film violent scenes properly, and it's something I'm reticent to do, and yet violence is sort of in all of my films.
I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.
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.
I love it when characters surprise you, just like real people. When I write a scene I just try to make the characters behave in a way that feels natural to them. Sometimes that means they make a left turn and do something unexpected. Those are always the best scenes in my opinion.
I love scenes with minimal dialogue.
I'm like one of the tallest ones on 'Scandal.' If I'm wearing my four-inch Abby Whelan high heels, I hover over everybody. I literally have a lower pair of high heels that I wear when I do one of the scenes with the guys.
I would encourage people that, if you are waiting for the end of 'The Office,' to re-tune in right away. It is the beginning of the end, where we start to break down what's going on with this documentary and see behind the scenes with who is involved.
The scenes in the show were filmed with a crew of really excellent stunt jumpers, but we had the feel of the parachutes, so we could be more realistic in the roles.
I'd say without a doubt I've had the most sex scenes in any television show, ever. Last season I did eight sex scenes in one day - I haven't topped that yet.
I know exactly what it's like to stand on top of a tall building or in a high place and look down and go, 'Ohhhh my God.' I try to get into that place every time I write a scene like that. And definitely when I write the action scenes, I get overheated and my heart goes really fast. I get very involved.
I have never been over fond of scenes anywhere.
'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.
The love scenes that worked, regardless of the director, were the ones where the actors weren't fearful. When somebody was fearful, you could see it right away. It takes you out of the story, and that's to be avoided at all costs.
Action scenes get me so excited, and my adrenaline starts pumping.
Jodi Lyn O'Keefe
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.'
I look for an interesting and often times, fresh character. Something different that what is done all the time or than I've done recently. I look at who is directing. Those two variables as well as a third, which is the content and the quality of the screenplay. I look at the arcs of the scenes and characters and relationships.
I've been campaigning like anything for restoring these changes. For 27 years. I wrote a book about it, well, a portion of the book was devoted to these scenes and why they should have been in the movie.
William Peter Blatty
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 think somewhere along the way I realized, 'O.K., no one's gonna care about a chubby Jewish dude rapping.' I realized I'd be better behind the scenes.
We talked a lot about The Best Intentions and how we could shoot certain scenes in different ways with slightly different bits of dialogue and information, so that later on, we could cut the piece more easily and it would still feel complete, even though it was shorter.
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.
Martin Luther King, Jr.
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Step by step and the thing is done.
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