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In Carlito’s Way, when Benny Blanco confronts Carlito, De Palma doesn’t cut back and forth like most directors would in a normal dialogue scene. Instead, he keeps the camera at a distance and pans between the two actors, capturing the rising tension between them. And as the scene becomes...

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the camera being in a tight close up on both ilya and shane for the entirety of this scene, except for the moment when ilya is working up the courage to say he’s in love. it’s like for the whole conversation it’s just the two of them, there’s nobody else who matters, and then for a brief moment the shot widens as ilya considers the implications of the fact he’s in love with shane. the fact that the rest of the world DOES matter and will always be a presence in their relationship. we’ve been held in this moment between the two of them and by widening the shot, that intimacy is broken just for a second as we’re reminded that there is a world beyond the two of them and ilya is still in russia. what he’s doing is incredibly dangerous. then the camera tightens back into a close up as he realises he needs to say it anyway because all that matters is that he’s on the phone with shane and he’s in love with him. it really is just the two of them in this moment and he doesn’t want to let anyone else in.

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Tom Holland reveals he watched Matt Damon and Anne Hathaway stay in character for entire afternoons during a highly emotional 9-minute scene filmed with 3-minute camera limits "I remember a scene between Matt Damon and Anne Hathaway. It's about a 9-minute scene, and the camera can only run for 3 minutes at a time because it runs out of film. They would run it, take it out the blimp, reload it, put it back in, and then the two actors would just carry on from where they left off." "This is the most emotional scene in the movie. It's so fantastic. To see both of them stay in character, stay in that emotion, never waver, and never come out of it. They would call cut, they would reload the camera, and Matt and Anne just stayed there in the moment for 3 minutes before the camera would roll again." "It was just a masterclass in patience, professionalism, and confidence in themselves. It was awesome."
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Tom Holland reveals he watched Matt Damon and Anne Hathaway stay in character for entire afternoons during a highly emotional 9-minute scene filmed with 3-minute camera limits "I remember a scene between Matt Damon and Anne Hathaway. It's about a 9-minute scene, and the camera can only run for 3 minutes at a time because it runs out of film. They would run it, take it out the blimp, reload it, put it back in, and then the two actors would just carry on from where they left off." "This is the most emotional scene in the movie. It's so fantastic. To see both of them stay in character, stay in that emotion, never waver, and never come out of it. They would call cut, they would reload the camera, and Matt and Anne just stayed there in the moment for 3 minutes before the camera would roll again." "It was just a masterclass in patience, professionalism, and confidence in themselves. It was awesome."

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Brian De Palma’s never received the credit he deserves for his genius as a filmmaker. Overshadowed by his peers that exploded on the scene in the ‘70s, countless directors and actors owe part of their success to De Palma. That includes Al Pacino.

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William Wyler on how he directs actors: "Interviewer: What always stands out in your films is the intensity and the passion of the performances. Obviously they’re of extreme importance to you. How do you work with actors? Wyler: When I come to a set, I’ve studied the scene and I have got a vague idea of how I want to play it. But I haven’t mapped it out exactly as some directors do. Before I can make up my mind definitely, I’ve got to see the actors doing it. Also, I want to see what the actors have to contribute, so I don’t tell them very much. If an actor asks me, I say, “You know the scene. Go ahead, show me.” And it happens very often that the actor will have a different idea or an even better idea than I have. When we’ve got it worked out, then comes the technical part of working out the camera moves. Then we start shooting. Sometimes I’m not very articulate with the actor. If you point out something, it may become too prominent in his thinking and the scene will suffer. I figure that by putting an actor on his own and letting him use all the resourcefulness he has, he won’t depend on me. That’s when they say I start becoming a sadist, shooting again and again. He’s got to do and feel it himself. One actor once asked me, “Why don’t you tell me when it’s good?” I said, “Look, see that camera there? When that camera moves away to another position, then that’s a great compliment. When it moves to another shot, that means you were good.” I must confess, though, that sometimes in the cutting room a scene won’t look as well as it did when I was shooting it. While something I was looking for was achieved, something else—some spontaneity perhaps—left the scene without my noticing it. Then I’ll say, “Let’s print up take one or take two, and take a look at those other takes.” Sometimes I’ll put the early take back into the film. The actor, of course, won’t know which take it is." (William Wyler, AFI, 1975) For Context: William Wyler, to achieve a weary & emotionally worn effect out of Olivia de Havilland in "The Heiress" (1949), filled the suitcases with books & made her walk down the stairs for 37 takes, finally deciding to go with the last one, after she fell of exhaustion.
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William Wyler on how he directs actors: "Interviewer: What always stands out in your films is the intensity and the passion of the performances. Obviously they’re of extreme importance to you. How do you work with actors? Wyler: When I come to a set, I’ve studied the scene and I have got a vague idea of how I want to play it. But I haven’t mapped it out exactly as some directors do. Before I can make up my mind definitely, I’ve got to see the actors doing it. Also, I want to see what the actors have to contribute, so I don’t tell them very much. If an actor asks me, I say, “You know the scene. Go ahead, show me.” And it happens very often that the actor will have a different idea or an even better idea than I have. When we’ve got it worked out, then comes the technical part of working out the camera moves. Then we start shooting. Sometimes I’m not very articulate with the actor. If you point out something, it may become too prominent in his thinking and the scene will suffer. I figure that by putting an actor on his own and letting him use all the resourcefulness he has, he won’t depend on me. That’s when they say I start becoming a sadist, shooting again and again. He’s got to do and feel it himself. One actor once asked me, “Why don’t you tell me when it’s good?” I said, “Look, see that camera there? When that camera moves away to another position, then that’s a great compliment. When it moves to another shot, that means you were good.” I must confess, though, that sometimes in the cutting room a scene won’t look as well as it did when I was shooting it. While something I was looking for was achieved, something else—some spontaneity perhaps—left the scene without my noticing it. Then I’ll say, “Let’s print up take one or take two, and take a look at those other takes.” Sometimes I’ll put the early take back into the film. The actor, of course, won’t know which take it is." (William Wyler, AFI, 1975) For Context: William Wyler, to achieve a weary & emotionally worn effect out of Olivia de Havilland in "The Heiress" (1949), filled the suitcases with books & made her walk down the stairs for 37 takes, finally deciding to go with the last one, after she fell of exhaustion.

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Christopher Nolan on Robert Pattinson being one of the busiest actors working today “Rob and I, we’re old friends at this point... He’s an incredible actor and anytime I get a chance to work with him is great... he’s one of the busiest actors working and so for Rob, it’s like ‘alright, let’s take a look at the part and see if I can squeeze it in between The Batman and this and everything’, there’s a lot of that going on.” (via Access Hollywood)

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Scarface (1983) Dir. Brian De Palma De Palma on shooting the Tony Montana Frank Lopez showdown. "The first problem came when I first laid out the scene; Al [Pacino] was very uncomfortable with it. There was something that wasn’t right, and I couldn’t figure out what. I’m behind schedule with 150 people standing around on a sound stage at Universal, and Al just can’t seem to do the scene. He wants to go back to his trailer and rehearse it. Well, we’ve rehearsed the scene a thousand times and suddenly there’s something wrong with it. So I go back to his trailer, I call [screenwriter] Oliver Stone, and I say, “Get down here. There’s something wrong with this scene.” We get in the trailer and Al starts doing the scene, and then it occurs to me that the problem with the scene is not the scene, but the size of the set. We scrapped that location and shot something else, and then we built the boardroom five times bigger, with that huge table that he could move around. In that scene, each of those actors, the kingpin, Al, Manny, the police chief, they all had different rhythms. You have to choreograph this thing for five different actors and pay attention to every one of them. I’m trying to get through this scene, and the actor playing the bodyguard is staring at me with a look like he wants to murder me. He comes over and says, “Can I talk to you for a second?” I said, “Okay,” and took him aside and he said, “You haven’t said a fucking word to me for four hours.” I said, “I apologize. I’ve got the chief of police. I’ve got Al. I’ve got Manny. I’m trying to choreograph this complicated scene. I’m sorry.” I had completely not taken into account that the bodyguard had concerns and nobody seemed to be paying any attention to him. That’s a typical example of when you have a whole bunch of different actors with different needs, and you’ve got to watch them all."

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Steven Spielberg notoriously figures out how to shoot a scene, camera angles, and block actors on the day - which for most directors is insane. Here's an example of that rare skill from the set of JURASSIC PARK.
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Steven Spielberg notoriously figures out how to shoot a scene, camera angles, and block actors on the day - which for most directors is insane. Here's an example of that rare skill from the set of JURASSIC PARK.

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A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.
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A notable scene that shot for Stargate: Atlantis but never found its way to screen was this exchange between Carter and Sheppard at the conclusion of "Reunion", the third episode of the show's fourth season. The scene was intended to develop the friendship/working relationship between these two characters and close out the episode, but we were running long and I thought it would be better to end with the Ronon-Teyla scene since it was Ronon’s episode. Blue screen here as our heroes would have looked out on the waters surrounding the city through the magic of visual effects. The scene would have concluded with a PULL BACK ON the city, the ocean and then FADE OUT.

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Collateral (2004) Michael Mann on using music to reveal character. "As research, music enters early for me. If you can find that piece of music which evokes the central emotion of one of your characters, some pivotal crisis where he or she must rouse themselves from despair and manifest something very aggressive within his or her own mind—this becomes the piece of music for that moment. If I want to quantify how a character is feeling and thinking, in a way that is replicable, so I can re-evoke that emotion many, many times, finding the right piece of music is positively essential. Not only as I prepare the scene—but as I shoot the scene, as I direct the actors, and finally, as I edit the scene. One specific example comes to mind in Collateral, when the coyotes cross in front of the cab. For me, that was a watershed in the story's progression. Each of the two principle characters is submerging into his own perspective of what life is: a retrospective moment; a prelude to a violent confrontation. The song "Shadow on the Sun" by Audioslave nailed that moment for me. It became an indelible part of planning, sustaining, and executing that scene."
2:14

Collateral (2004) Michael Mann on using music to reveal character. "As research, music enters early for me. If you can find that piece of music which evokes the central emotion of one of your characters, some pivotal crisis where he or she must rouse themselves from despair and manifest something very aggressive within his or her own mind—this becomes the piece of music for that moment. If I want to quantify how a character is feeling and thinking, in a way that is replicable, so I can re-evoke that emotion many, many times, finding the right piece of music is positively essential. Not only as I prepare the scene—but as I shoot the scene, as I direct the actors, and finally, as I edit the scene. One specific example comes to mind in Collateral, when the coyotes cross in front of the cab. For me, that was a watershed in the story's progression. Each of the two principle characters is submerging into his own perspective of what life is: a retrospective moment; a prelude to a violent confrontation. The song "Shadow on the Sun" by Audioslave nailed that moment for me. It became an indelible part of planning, sustaining, and executing that scene."

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Judge: "I'm going to take a break and let you debate the issue between the two of you. I'll rule when I get back." Judge Newman has had it with the attorneys on both sides in #AlexMurdaugh trial. They were arguing an objection and going back and forth between each other.
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Tom Holland says Matt Damon stayed in tears for hours between takes on a nine minute Odyssey scene "Something I saw you do, when you did your big scene with Anne towards the end of the movie, it's like a nine minute scene" "You're lying there in tears, they cut, it takes five minutes to reload the camera, and you stayed in it the whole time, you were in that state for hours because of the nature of the way we had to shoot the stuff" "I didn't have to be there that day, but I remember being like, I can't leave, this is unprecedented stuff that's happening right now. And credit to Anne too, she did the same" "For me, as a young actor, to see two guys really at the top of their game operating like that, and it's not easy circumstances to be working with that camera"
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Tom Holland says Matt Damon stayed in tears for hours between takes on a nine minute Odyssey scene "Something I saw you do, when you did your big scene with Anne towards the end of the movie, it's like a nine minute scene" "You're lying there in tears, they cut, it takes five minutes to reload the camera, and you stayed in it the whole time, you were in that state for hours because of the nature of the way we had to shoot the stuff" "I didn't have to be there that day, but I remember being like, I can't leave, this is unprecedented stuff that's happening right now. And credit to Anne too, she did the same" "For me, as a young actor, to see two guys really at the top of their game operating like that, and it's not easy circumstances to be working with that camera"

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i adore the way they animated this scene between coco and tetia...both of them admitting their fears and trying to comfort the other best as they can in a situation that's out of their hands. that's SISTERHOOD #whaanimespoilers

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The pool hall scene in Carlito’s Way is one of the most suspenseful set pieces in all of crime cinema. However, when the studio executives saw an early cut, they thought it was too long and asked Brian De Palma to cut it back - but instead, he made it even longer. The writer of the film, David Koepp explains…. “We showed an early cut to the studio, and one of their notes was that the pool hall scene seemed too long. I was talking to Brian about it, and I said, “what do you think about this note that the pool hall scene is too long? I don't think they're right about that.” And he said, “No, no, no, they're absolutely right, they're absolutely right. But what they mean is that it's not long enough” And I thought he was just being cheeky and defiant. But actually, no - I mean, he knows suspense so well, he felt that it was just that he had failed to set up a little bit of the geography of the suspense - which is of course, his mastery. You know - the guys in the bathroom, the door is slightly open, the other guys over here - all that great establishment of where everybody is, and how close they are to each other, and what all the stakes are. The suspense only works later if that stuff's set up properly before. And so when he went back and furthered some of that coverage and expanded the front of the scene a little bit, the scene was nail biting and great. And they saw another cut and said, “much better shorter, much better shorter.”
7:23

The pool hall scene in Carlito’s Way is one of the most suspenseful set pieces in all of crime cinema. However, when the studio executives saw an early cut, they thought it was too long and asked Brian De Palma to cut it back - but instead, he made it even longer. The writer of the film, David Koepp explains…. “We showed an early cut to the studio, and one of their notes was that the pool hall scene seemed too long. I was talking to Brian about it, and I said, “what do you think about this note that the pool hall scene is too long? I don't think they're right about that.” And he said, “No, no, no, they're absolutely right, they're absolutely right. But what they mean is that it's not long enough” And I thought he was just being cheeky and defiant. But actually, no - I mean, he knows suspense so well, he felt that it was just that he had failed to set up a little bit of the geography of the suspense - which is of course, his mastery. You know - the guys in the bathroom, the door is slightly open, the other guys over here - all that great establishment of where everybody is, and how close they are to each other, and what all the stakes are. The suspense only works later if that stuff's set up properly before. And so when he went back and furthered some of that coverage and expanded the front of the scene a little bit, the scene was nail biting and great. And they saw another cut and said, “much better shorter, much better shorter.”

Gangster Cinema Central

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Kiss scene lecture from our Master of Kissing as we are waiting for his mukbang in #WhenThePhoneRings 👩‍❤️‍💋‍👨 - if actors are too into the scene when they kiss, it doesnt look so great in camera. Instead, treat the kiss scene just like action scene like its choreographed 🔥 - plan the angles ahead of time - plan the big pictures so they wont struggle and will be able to focus so it looks nicer - he personally likes to bring wine to the set, have a drink🍷 and talk💬 with the actress to set the mood Kiseu Jang-in Yoo Yeonseok, i’m looking forward to your move with soobin!
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Kiss scene lecture from our Master of Kissing as we are waiting for his mukbang in #WhenThePhoneRings 👩‍❤️‍💋‍👨 - if actors are too into the scene when they kiss, it doesnt look so great in camera. Instead, treat the kiss scene just like action scene like its choreographed 🔥 - plan the angles ahead of time - plan the big pictures so they wont struggle and will be able to focus so it looks nicer - he personally likes to bring wine to the set, have a drink🍷 and talk💬 with the actress to set the mood Kiseu Jang-in Yoo Yeonseok, i’m looking forward to your move with soobin!

Dee 🍉

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The scene beautifully showcases the chemistry between the two characters as they confront their feelings and fight for the future they dream of together. Their expressions, body language, and emotional intensity make this one of the most iconic moments in romantic movie history.
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The scene beautifully showcases the chemistry between the two characters as they confront their feelings and fight for the future they dream of together. Their expressions, body language, and emotional intensity make this one of the most iconic moments in romantic movie history.

OfficialSonia🇺🇲🇺🇲💯

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Jacob opening up about how much he struggled wrapping his head around the scene between Louis and Bruce in ep 3 of TVL He went back and forth with rolin about it and rolin continued to reiterate that this is something Louis had to go through in order to be ‘humbled’ towards the end of the series
2:13

Jacob opening up about how much he struggled wrapping his head around the scene between Louis and Bruce in ep 3 of TVL He went back and forth with rolin about it and rolin continued to reiterate that this is something Louis had to go through in order to be ‘humbled’ towards the end of the series

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