“This career essentially chased me down while I was on the spoken-word scene in New York. I kept hearing that my delivery of my poetry - which was very personal and cathartic at the time- was very moving to folks. People thought that I was an actress because of my delivery, when I was just dropping into the work and really pouring out my soul.” PeopleSoulMovingCareersNew YorkSceneFolksHearingActressesMy SoulDroppingDeliveryPouringSpoken WordCatharticVery Moving Author:Sonja Sohn
“The biggest challenge for me has been in coping with my perfectionism. I have a stiflingly hard time moving forward in a project if it's not 'just right' all along the way. The trap I so easily fall into is rewriting and rewriting the same scenes over and over to make them perfect, instead of continuing on into the wild unknown of the story.” IfsWayHas BeensHardStoriesMovingFallChallengesPerfectSceneProjectsMoving ForwardHard TimesContinuingTrapsCopingPerfectionismRewritingContinuing On Author:Laini Taylor
“I learned a valuable lesson doing 'Mr. Sunshine,' which is that I didn't want to be in charge because it's too much. Being in charge and acting in every scene was just too difficult. It's like eating dinner in a moving golf cart every night.” WantMovingNightDifficultActingToo MuchLessonsSceneEatingGolfValuableDinnerSunshineEvery NightCartsValuable LessonsEating DinnerGolf Carts Author:Matthew Perry
“In general, I don't like game mechanics, I mean it's the idea you do the same things through different levels. I think, in my mind, it's an ideas I don't really like because I love to do different things and like to see the story moving on and I like to do different things and different scenes, not do the same thing over and over again. If it involves violence at some point fine, if it makes sense in the context. But violence for the sake of violence, it doesn't mean anything to me anymore.” IfsThinkingMindMeanIdeasDifferentStoriesMovingGamesLevelsViolenceFineSceneSakeMake SenseDifferent ThingsMechanicDifferent Levels Author:David Cage
“Cut like crazy. Less is more. I've often read manuscripts - including my own - where I've got to the beginning of, say, chapter two and have thought: “This is where the novel should actually start.” A huge amount of information about character and backstory can be conveyed through small detail. The emotional attachment you feel to a scene or a chapter will fade as you move on to other stories. Be business-like about it.” FeelsShouldTwoCharacterStoriesMovingMy OwnNovelCuttingCrazyInformationEmotionalHugeAmountSceneIncludingDetailsAttachmentFadesChaptersManuscriptsLess Is MoreSmall Details Author:Sarah Waters
“There’s a great scene in The Texas Chain Saw Massacre [1974] that I’m obsessed with: Sally is being chased by Leatherface with a chainsaw... And she runs into thorn bushes. And she’s getting tangled up in it because she’s running fast... But Sally needs to move slowly in order to get through the bushes - she will get farther faster by going slowly because her hair and clothes won’t get tangled and caught. There’s something really beautiful about understanding that, while someone’s chasing you with a chainsaw, you have to move more slowly in order to get away.” NeedsRunningBeautifulMovingOrderUnderstandingSawsHairSceneClothesCaughtChainsFasterObsessedGet AwayTexasChasingTangledMassacresReally BeautifulChainsawRunning Fast Author:Christopher Bollen
“You don't have a lot of time to massage a scene into oblivion. It's like you do it, you get a couple of good takes, and then you move on, so you have to be very spontaneous as an actor and have done your homework, and I like that.” DoneMovingActorsLike YouCoupleSceneSpontaneousOblivionHomeworkMassage Author:Barry Bostwick
“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.” GivingWholeMovingSexNumbersHalfMaterialsReaderSceneNegativeHotMessCuteHeatBloodyKittenDrainingGood Sex Author:Sandra Newman
“In a car you're always in a compartment, and because you're used to it you don't realize that through that car window everything you see is just more TV. You're a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming.” MovingUsedRealizingGoneCarTvsSceneWindowContactCyclesOverwhelmingPassiveObserversZen Motorcycle Maintenance Author:Robert M. Pirsig
“A majority of the successful women on the pop scene conform to what a woman is supposed to be. Some have tried to get things moving. They have tried to modify the image. But sometimes the image has a hard time changing the eye - to change the relationship between the image and the eye takes longer.” SometimesHardEyeMovingSuccessfulSceneMajorityPopsSupposed To BeHard TimesConformSuccessful Women Author:Orlan
“Fight scenes are really more like dances than they are fights, because you're depending on your partner to do the right move at the right time. Yes, a tough person or somebody who knows what they're doing will look better in a fight scene, but it also has a lot to do with the other person.” KnowsLooksPersonsMovingFightingSceneToughPartnersRight TimeTough Person Author:James Franco
“There is nothing “still” in the remarkably visceral poems of Alexander Long's third collection, Still Life, and nothing is at rest in these restless and edgy poems. Conversational and kinetic, these poems chart the traces left by the shifting overlays of the templates of literature, rock-and-roll, and contemporary culture. As each poem in Still Life attempts to fix a focus upon a scene or subject, the protean natures under view draw the poet into the eddies and complexities of reflection. This is a powerful and moving collection of poems.” LongStillsMovingCultureLiteratureLeftViewsPowerfulFocusSubjectsRocksPoetSceneDrawsReflectionThirdsContemporaryComplexityCollectionsRock And RollRestlessShiftingEdgyVisceralStill Life Author:David St. John
“As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.” IdeasSometimesStoriesMovingRealizingCuttingProgressSceneDirectorsMoving ForwardTension Author:Catherine Hardwicke
“There's a lot of time sitting in movies, so you can put alligators in people's trailers in your spare time. So it [making a film] moves slower, which in some ways is great, because you can live with a scene and invest in it a lot. And in some ways it's hard, because sometimes you can start to lose your energy a little bit, but both are fun.” PeopleWayLittlesSometimesHardFilmMovingEnergyFunBitsLosesSceneLittle BitSittingSparesTrailersSpare TimeAlligators Author:Mary-Louise Parker
“A lot of kids are moving to Baltimore, because we have a great music scene and we've got edge. Come on down, we've got scary edge. But great edge - it's still a city you can be a bohemian in.” StillsKidsMovingCitiesSceneEdgesScaryGreat MusicBaltimoreBohemian Author:John Waters
“The most moving scene for me in 'Pride and Prejudice' is the Pemberley music room scene: Elizabeth has just saved Darcy's sister from embarrassment and confusion, and as the music plays on, Darcy's look of gratitude becomes a look of love, which we see reciprocated in Elizabeth's eyes.” LooksPlayEyeMovingRoomsPrideGratitudeScenePrejudiceSavedConfusionEmbarrassmentDarcy Author:Andrew Davies
“I began as a dramatist in the theater, so I'm always thinking about how a story moves, what it looks like, how to engage the senses, how dialogue sounds, what feels authentic and sounds real, what's funny, how to build distinctive and original characters - all the aspects of playwriting, scene-building, the architecture of dramatizing.” ThinkingFeelsLooksRealCharacterStoriesMovingSoundBuildingSceneAspectTheaterOriginalsArchitectureSensesDialogueDistinctiveAlways ThinkingPlaywriting Author:Adriana Trigiani
“Kissing scenes are never romantic or sexy, they're actually super technical, like, "Move your head, you're blocking her light," or, "Stop looking like an idiot when you kiss her." You do it again and again because of the camera angles and takes and whatnot. So by the end of it, it's not even kissing. All the anything is totally drained out of it.” EndsLightMovingSceneKissingCamerasSexyBlockIdiotAgain And AgainAngleDrainedCamera Angles Author:Will Poulter
“You can do things in twin scenes now you couldn't before. You can implement actual moving cameras.” MovingCan DoSceneCamerasTwins Author:Edward Norton
“There are certain scenes in the edit you're playing with it and certain scenes don't put back together the way you imagined. Sometimes they're better and sometimes they don't have that thing, so it's never foolproof. But you certainly get an idea that here we've got enough and we've got to move on because you're always against time and money there. Whatever the budget is, you have to get practical about it.” WayIdeasSometimesEnoughTogetherMovingCertainScenePracticalsBudgetsEditsBack TogetherTime And MoneyFoolproofGot To Move On Author:Oliver Parker
“Well I liked the mixture actually. It's really good fun to have throughout a shoot to move from something which is quite character based in certain scenes where there's very little action and you're just working with actors and I suppose I've had quite a lot of practice at that. This is more action than I've had a chance to do so that was fun for me too to go into the action then and have some really good crew working with me. And sometimes you get these scenes where they blend.” WellsLittlesSometimesCharacterActionMovingCertainActorsFunChancePracticeSceneCrewMixturesGood Fun Author:Oliver Parker
“The secrets that the characters hold are held back from the audience, and that's such a delight to hold onto. When you're playing scenes, it gives you an inner dialogue that allows you to really immerse yourself as the actor, in every scene that you're playing. Nothing felt expositional. Nothing felt like we were just doing it to move the story along. There was a reason these characters were saying what they're saying. It was a gift, really.” GivingReasonCharacterStoriesMovingActorsFeltSecretAudienceSceneDelightDialogue Author:Tom Hughes
“When you do improv, you're everything. You're a performer, writer, and director, because you're moving the scene in the direction you want it to go, you're making it up as you go, and you're acting it.” WantMovingActingSceneDirectorsPerformers Author:Rob Reiner
“Keanu Reeves learned a lot, respecting the culture. I was surprised when I first met him. He knew a lot already and he learned a lot. And also he learned Japanese. It's incredible. On the set, switching between the Japanese and English, even for us, is very hard. It's complicated. But the first time Keanu spoke in Japanese it was a very important scene between us, and more than the dialogue's meaning, I was moved. His energy for the film, completely perfect Japanese pronunciation. It was moving, surprising, respecting.” FirstsImportantHardFilmMovingCultureEnergyPerfectMetsSceneFirst TimeMovedIncrediblesComplicatedDialogueSpokesSurprisingSwitchingPronunciation Author:Hiroyuki Sanada
“When an artist, or whomever, moves from their scene to the bigger pond, it starts getting crazy, because all of a sudden people don't respect you, and you have to start being a lot more aggressive than you would normally be.” PeopleMovingArtistCrazySceneBiggerAggressivePonds Author:Grimes
“Any critic of Cezanne who described him as a painter of country scenes would be moving in the wrong direction. You must begin with the question of style . . .” CountryWould BeMovingStyleSceneCriticsPainterMoving InWrong DirectionCezanne Author:Charles Tomlinson
“My favorite thing to do is action-driven, emotionally-charged scenes. If it's not just two people talking in a room, but it's on the move and things are happening and it's chaotic, and emotion comes from the characters and from the action, and the fall-out ultimately changes the character relationships, that exactly the kind of stuff I like writing.” PeopleIfsWritingKindTwoCharacterActionMovingFallStuffRoomsEmotionTalkingSceneHappeningsMy FavoriteDrivenThings To DoChaoticFavorites ThingsPeople TalkingStuff I Like Author:Geoff Johns
“There were a couple of times that we did end up moving the set [of Helix] outside to shoot some of the outside scenes, just because we needed a bit more space, and that ended up being a little bit more helpful and easier to breathe, when you're dealing with some of the fake snow stuff. It was a lot of fun, and it looks amazing.” LooksLittlesEndsMovingFunStuffBitsSpaceCoupleNeededEasierSceneLittle BitBreatheSnowFakeHelpful Author:Kyra Zagorsky
“Nothing is worse for me, as an actor, than when I walk on a set and the director goes, "Okay, you're going to be standing here, the other person is going to be standing here, and you're going to move to there and then do the scene." That doesn't help actors.” PersonsHelpingMovingActorsWalksSceneDirectorsStandingOkay Author:Eric Balfour
“There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.” WayRealPlayRealityMovingGuyActorsGivenLevelsRoomsEffectsHonestHigherSceneBuiltPerformancesVisualsRealismRobotsNuanceReal OnesVisual Effects Author:Shawn Anthony Levy
“I like the idea of having a film that is choreographic in all its aspects, not only in the dancing scenes, but also in the way the camera and the characters move in order to have that feeling that it's always musical.” WayIdeasCharacterFeelingsFilmMovingOrderSceneAspectCamerasDancingMusical Author:Pascal Chaumeil
“We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.” WantWritingTryingFirstsLooksStillsTwoDifferentMovingHoursFiveMinutesFiguresTelevisionLike YouSceneBuiltSeriesComplicatedEpisodesStreaming Author:Jill Soloway
“Ma-a-a-n-I'm very excited to put my heart into somethin' that's 100% Swizz Beatz. I usually work behind the scenes, and I did that for 10 years, and now I'm ready for the forefront... and [to] really get the legacy moving to another level.” YearsHeartMovingLevelsBehindsReadyMy HeartSceneExcitedLegacyBehind The Scenes Author:Swizz Beatz
“Kevin Bacon and I recently worked on a move together, R.I.P.D. Just before we'd begin a scene, when all of us would feel the normal anxiety that actors feel be- fore they start to perform, Kevin would look at me and the other actors with a very serious expression on his face and say: "Remember, everything depends on this!" It would make us all laugh. On the one hand, it's not true of course, but on the other, everything does depend on this, on just this moment and our attitude toward this moment.” FeelsLooksDoeMomentsHandsTogetherRememberFacesMovingCoursesActorsAttitudeLaughingSeriousExpressionDependsSceneNormalAnxietyLook At MeKevinRemembers Everything Author:Jeff Bridges
“When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.” PeopleStillsFilmMovingNationsProcessActingStageEmotionalKingsSceneOriginalsCriminalsBridgesFeaturesDimensionsSundaySignificanceFilmmakingBloodyDrsReactingHumbling Author:David Oyelowo
“You don't write the kitchen scene just because you're eager to do it that day and you're avoiding something else. I think it has to move slowly, step by step. I pride myself on the construction of my stories but it's not something I impose on them.” ThinkingWritingStoriesMovingStepsPrideSceneKitchenConstructionAvoiding Author:T.C. Boyle
“The movie [Blue Jasmin] shot very quick. I met Cate Blanchett in the car on the way to set, and we did that last scene, and she was just so phenomenal. I had basically met her that day. Because the way he shoots, everybody just shows up and does their thing, and he moves us very quickly.” WayDoeShowsLastsMovingCarMetsSceneShotsBluePhenomenal Author:Alden Ehrenreich
“There are a lot of layers in the film [Dream of Life]. And during editing we would try to tame all the layers, try to make things a little bit more understood. We would move scenes around. We'd try all these things.” TryingLittlesDreamFilmMovingBitsSceneLittle BitUnderstoodLayersEditing Author:Steven Sebring
“The scene [in The Hangover] where the tiger actually pops up behind us, that's actually a Jim Henson tiger puppet. The Jim Henson Company actually supplied that tiger. And it's really cool. Its entire face moves. It has like all these little motors in its eyebrows and cheeks and mouth. It was amazing.” LittlesFacesMovingBehindsCompanySceneMouthsPopsCheeksTigersEyebrowsMotorReally CoolPuppetsHangover Author:Ed Helms