“I'm a technician. I don't go for the get-into-the-role stuff. I read the lines and play the scenes.” PlayStuffLinesRolesSceneTechnicians Author:Jodie Foster
“The joy of 'Crash' was that it was all about the work. It was my first real part. Before that, it was a line here and there, maybe a scene. 'Crash' was five scenes, a beautiful arc, a little vignette of my own. It really meant something.” FirstsLittlesRealBeautifulJoyLinesMy OwnFiveSceneWorking ItCrashHere And ThereReally MeanArcsVignettes Author:Michael Pena
“I just focus on getting the first scene right, with a few lines about the overall plot, and then the book grows organically.” FirstsBookGrowsLinesFocusScenePlot Author:Alexander McCall Smith
“I don't hold to the idea that God causes suffering and crisis. I just know that those things come along and God uses them. We think life should be a nice, clean ascending line. But inevitably something wanders onto the scene and creates havoc with the nice way we've arranged life to fall in place.” ThinkingKnowsWayShouldIdeasUseSufferingFallCausesLinesNiceSceneCrisisCleanWanderHavocAscending Author:Sue Monk Kidd
“I'm just aware of what I'm thinking and feeling but I do obviously have to get that to the back of the auditorium. So there are things like projection and filling the room, and not dropping the ends of lines - technical things which are important, but I don't think they change the way I feel in a scene.” ThinkingWayFeelsImportantEndsFeelingsLinesRoomsSceneFillingProjectionDroppingAuditoriums Author:Bill Nighy
“The painter doesn't try to reproduce the scene before him... he simplifies and eliminates until he knows exactly what stirred him, sets this down in color and line as simply and as powerfully as possible and so translates his impression into an aesthetic emotion.” KnowsTryingLinesEmotionColorSceneImpressionPainterAestheticTranslateSimplify Author:David Milne
“Even one word, or certainly one sentence, should be able to describe the basic characteristic that the scene has, or the character has, or the story has. And then you begin to detail that one spine, and you have offshoots from that spine, and it becomes more and more complex, but all of it stems from that one-word, one-line theme, which can give the character, the scene, or the play its uniqueness.” GivingShouldPlayCharacterStoriesAbleLinesSceneComplexesDetailsSentencesCharacteristicsThemeUniquenessStemOne WordSpineOne LineOne Sentence Author:William Shatner
“If you try to deliver a funny line in a funny way, it comes out as wacky and you ruin the scene.” IfsWayTryingLinesSceneRuinsWacky Author:Bill Burr
“The Nazis, for him, are merely available movie tropes--articulate monsters with a talent for sadism. By making the Americans cruel, too, he escapes the customary division of good and evil along national lines, but he escapes any sense of moral accountability as well. In a Tarantino war, everyone commits atrocities. Like all the director's work after 'Jackie Brown,' the movie is pure sensation. It's disconnected from feeling, and an eerie blankness--it's too shallow to be called nihilism--undermines even the best scenes.” WellsWarFeelingsEvilLinesMoralTalentScenePureDirectorsAvailableMonstersCommitBrownGood And EvilAccountabilityDivisionSensationsNaziShallowNihilismAtrocitiesDisconnectedJackieSadismTarantinoEerieTropesBlanknessJackie Brown Book:Do the Movies Have a Future? Source: Do the Movies Have a Future?
“I feel satisfaction at the end of the day when I've written a scene that I really like or when I write a good line of dialogue that I read out to my wife or something like that. But there's also days where it's just bloody agony and I go, 'ugh, this is such crap! Why did I think I had any talent?” ThinkingFeelsWritingEndsLinesWifeWrittenTalentSceneSatisfactionMy WifeDialogueThe End Of The DayAgonyBloodyCrapUgh Author:George R. R. Martin
“In the scenes I try to be a giver as much as possible, giving the other actor something to work with. When not in the scenes I will stand in for eye lines to help the other actor with delivery and hopefully performance.” GivingTryingHelpingEyeActorsLinesScenePerformancesHopefullyGiverDelivery Author:James Preston Rogers
“All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.” IfsKnowsWayLongWholeThreeHoursLinesFiveCuttingMinutesSceneJokesShotsVersionsGet BackSecondsTestingGoing To WorkFive MinutesBiggest FearFunny JokesPreview Author:Judd Apatow
“What draws me to roles, I think, are moments - moments that define character, where so much more of the story is told in just a moment - a look, a line, a short scene, but something that speaks a volume, something that speaks to me.” ThinkingLooksMomentsCharacterStoriesSpeakLinesRolesSceneDrawsVolume Author:Nathan Fillion
“I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific." So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera." And all in one take.” ThinkingKnowsSaidTogetherRememberLinesReadyWalkingSceneCamerasYeahVery GoodNervousThey SaidTerrificSurvivingRehearsalBreakdownMental Breakdown Author:Anthony Hopkins
“A lot of lines in movies were written, but I'm always improvising. Once you get into the scene, it just comes to me.” LinesWrittenSceneImprovisingMovie Lines Author:Chris Tucker
“I did some writing for that movie. The remake of Planet of the Apes. I didn't write the script. But I wrote some lines that they ended up... not using. ... I wrote one line. I thought it would've been perfect. I don't know if anyone saw the movie. It's the scene where the ape general comes in. And they're trying to decide if they should attack right there, or wait until a little later. And I wrote: "Man these bananas are good!" But they didn't use it. I did all of that research.” IfsKnowsMenShouldWritingTryingLittlesUseFunnyWaitingLinesPerfectSawsComedyPlanetsSceneResearchScriptsApesBananasRemakesOne Line Author:Brian Regan
“As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.” WayPersonsDoeHandsEyeActorsLinesWalksRoomsHalfStepsRolesCuttingSceneMouths Author:Stanley Tucci
“When I wrote my first film and then directed it and I looked at it for the first time on what's called an assembly, you look at this movie which is every scene you wrote, every line of dialogue you wrote and you want to kill yourself the minute you see it. It's like, 'How did I write something so horrible?'” WantWritingFirstsLooksFilmLinesMinutesSceneFirst TimeHorribleDialogueAssemblyKilling Yourself Author:Bruce Joel Rubin
“I left the studio at 5:30 in the morning. It's an incredible mind exercise. You have to, obviously, have stamina, but you really feel like you're kind of feeding your mind. It's a challenge of learning lines very fast and then you have to be lose enough to hopefully make good choices in a much shorter amount of time that it takes to film certain scenes.” FeelsMindKindEnoughFilmCertainChoicesLeftLosesChallengesLinesMorningLike YouAmountExerciseSceneIncrediblesStudiosHopefullyFeedingStaminaGood Choices Author:Glenn Close
“So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.” IfsKindNextChallengesLinesFiveFourWonderfulPeriodsSceneMouthsWorriedComing OutBack And ForthTrenches Author:Glenn Close
“I wrote the plot [for the Persepolis ]and Vincent [Paronnaud] and I wrote and discussed the shooting of the script. Vincent then took care of the production design, the actual shooting, and what was going on within each scene. It's very difficult, though, to draw a line between who did what. Because Vincent would say something, and I would add something, and at the end you have this film, yet no clear idea of who did what.” IdeasEndsCareFilmDifficultLinesClearDesignSceneDrawsAddScriptsProductionsShootingPlotPersepolisProduction Design Author:Marjane Satrapi
“I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.” IfsThinkingKnowsWantMeanActorsLinesSceneDirectorsShotsStandingRhythmNuanceStanding There Author:Dustin Hoffman
“The realisation that, depending on where we changed from one note to the next in a melodic line, the music could subtly influence the entire meaning of a scene in so many ways was like a door opening to this amazing new world for me.” WorldWayNextLinesDoorsInfluenceChangedSceneNotesOpeningNew WorldRealisation Author:Steven Price
“The scene at a certain time was definitely boys; those huge warehouses were kind of violent parties, even. I think people in your immediate community made a nightlife scene that actually did break down gender roles and were along different lines of identity that had to do with race and experience in the '90s, rather than gender.” PeopleThinkingKindMadeDifferentCertainCommunityLinesPartyRaceBoysRolesBreakIdentityHugeSceneGenderViolentBreaking DownGender RolesWarehouseNightlife Author:Le1f
“I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.” WritingFirstsKindLittlesI CanCharacterMightFilmEnergyBitsLinesPiecesCoupleScenePaperThirdsCalmRelateOne PieceOne Line Author:Guy Pearce
“There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.” IfsFeelsPersonsEnergyLostHoursLinesTalkingGoes OnSceneCamerasSorryComplicatedUnfairGarbageExhaustingWill To Live Author:Dominic Cooper
“The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.” KnowsWantGivingCharacterHelpingJobsActorsLinesEmotionalExerciseTasteSceneDirectorsJudgmentPerformancesStatementsTaste And Judgment Author:Stanley Kubrick
“I always wanted the actors to feel really free to leave the words behind if they weren't working, reword lines, if they felt like there was impulse they wanted to follow, if it was taking the scene out of order or adding something, that you should always feel free to do that.” IfsFeelsShouldWantedOrderActorsFeltLinesBehindsSceneImpulse Author:Lynn Shelton
“You know, you're just sitting with him [Chevy Chase], then you're doing a scene with him and acting, and all of a sudden you go, "Omigod, that's Chevy Chase!" And then you've got to keep acting. "Danny, your lines? Your lines...? You've got to keep going!" "Oh, sorry, sorry!"” KnowsLinesActingSceneSittingSorryKeep GoingChevy Author:Danny Pudi
“[In acting] I like the fight scenes because you don't have to remember lines.” RememberFightingLinesActingScene Author:Travis Fimmel
“Everyone had coverage. You might have like three lines, but there were 10 people, so they would cover each person. Three lines could take 12 or 15 hours, but it was fun because everybody was together. As hard as it was to shoot those scenes, I always enjoyed when we were all together.” PeoplePersonsHardMightTogetherThreeFunHoursLinesSceneEnjoyedCoverage Author:Peter Facinelli
“[In comedy] you never want to leave the actors hanging out to dry. So you need to come up with funny individual stories for each character, and then you do this sort of comedy geometry, weaving them together. Once you've got a funny structure and you know why the scenes are funny, then you get super funny people to say your own lines, say their own lines, say things in their own way, and every scene is a live rewrite in front of the camera.” PeopleKnowsWayWantNeedsCharacterStoriesTogetherActorsIndividualLinesComedyFrontsSceneCamerasStructureCome UpDryHanging OutGeometryWeavingFunny PeopleSuper Funny Author:Jeff Schaffer
“I like letting takes play out, beginning to end. I don't like doing pick-ups of one line or another. I like letting the actors discover the flow of the scene, inside the scene as a whole.” EndsPlayWholeActorsLinesScenePicksFlowOne Line Author:Jason Winer
“In any given marketplace, there's a triangle. There's a line of Dior goods at $25,000 that creates the sharp focus you need to sell $100 scarves to every woman. When [Design Miami] Basel popped on the scene, it proved there's a market for the top of the design triangle, which will lead the wide base beneath it.” NeedsGivenLinesFocusDesignSceneSellsWideGoodsMarketplaceMiamiTrianglesScarvesDior Author:Benjamin Watson
“What I hear all the time is to stop and listen. When you do a scene 30 times, and know the lines, you stop listening. The point is to listen, that's the only thing that can make it real.” KnowsRealLinesListeningScene Author:Parker Stevenson
“I write with a fountain pen. And then revise word by word and line by line so that the first draft of a scene is usually the tenth or so draft.” WritingFirstsLinesScenePensFountainFountain Pens Author:John Dufresne
“You learn your lines as well as you can and you go in there and go with whatever is thrown at you. Sometimes you don't know whether or not they're going to break the scene up, so you don't have to do it all at one time.” KnowsWellsSometimesLinesBreakSceneThrownOne Time Author:Courtney B. Vance
“I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.” KnowsWayFeelsShouldKindCharacterTogetherActorsLinesStudyLike YouSceneExcitingPreparedBe PreparedGrind Author:Oren Moverman
“When you're doing physical comedy, everybody's involved, not just the actors. Everybody's behind the scenes following them, and we've got Jillian the cinematographer running after them, then we've got three guys behind her who are cable-wranglers running with her so she doesn't trip on it. Every day was a mad-dash to the finish line. Every day was so stressful. Every day was so fun.” RunningGuyThreeActorsFunLinesBehindsComedyInvolvedSceneMadFollowingCablesStressfulBehind The ScenesFinish LineCinematographersPhysical ComedyWranglers Author:J. Robert Spencer
“In live action, you go scene by scene, but in voice over you go line by line. In voice over you do a lot more takes.” ActionVoiceLinesSceneOver YouVoice Over Author:Joshua Rush
“When you're the guy behind the camera, you're aware of the reasons for the compromises or the changes that get made. As an actor, you go and do your thing, and someone else down the line then does all the math and goes, "We can't include that thing where he's pretending to be dumb and needling those people, because it takes a minute and a half, and it ruins the next scene. It doesn't make sense." If you're directing, you're the one doing that.” PeopleIfsDoeMadeReasonGuyNextActorsLinesBehindsHalfMinutesSceneCamerasMathCompromiseRuinsDumbMake SensePretending Author:Casey Affleck
“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.” DifferentProcessLinesFiveFourMinutesExampleScenePrisonSequenceGood ExamplesAnthem Author:Jeff Britting
“I had one line. My two larger scenes had gone fine, and then on that day I screwed up that line over and over and over again. And every time I screwed it up, they can't use the whole thing because they're only using the one shot [in Blue Jasmin]. That was my last day.” TwoWholeUseLastsLinesGoneFineSceneShotsBlueLast DayScrewed UpOne Line Author:Alden Ehrenreich
“I don't want to give any lines to anybody because otherwise they come out like bricks from their mouths. The important thing is the meaning of the scene, not the words you use, and I prefer that you find your own words to express the scene.” WantGivingImportantUseLinesSceneMouthsImportant ThingsBricks Author:Gaspar Noe
“It's an art installation to put out a collection, with the people behind the scenes who are inventing and creating these designs and making sure they're realized on the catwalk, and just how much hangs on it for the designers. Their livelihoods hang in the balance, as far as whether this year's collection works for them or not, and there are so many people's jobs on the line, as a result of that. I just had no idea.” PeopleYearsArtIdeasJobsLinesResultsBehindsDesignBalanceSceneCreatingNo IdeaDesignerCollectionsInventingLivelihoodBehind The ScenesInstallationCatwalk Author:Tom Riley
“One of the high points in my career came from a time I had with Tim Conway on a film when I had him fall down with laughter. I had this scene with him where I was this mechanic down fixing his car. I can't remember what my line was as written, but they were okay with me doing a made-up line. So Tim asks me what's wrong with his car, and I look up and say, "Well, looks like you got a squirrel caught up in there."” WellsLooksMadeI CanRememberFilmFallAsksLinesCareersWrittenCarLike YouSceneLaughterOkayCaughtAsk MeLook UpCaught UpMechanicFalling DownFixingSquirrelsHigh Points Author:John Ratzenberger
“The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.” IfsWantLooksEndsHappensActorsGivenLinesWrittenAirMovementWallScenePagesWindowCamerasStartingScriptsLandscapeFixedGesturesHighwaysEloquentStarting PointSuspended Author:Michelangelo Antonioni