Tim blake nelson
Tim Blake Nelson Filme und Serien
Tim Blake Nelson ist ein US-amerikanischer Film- und Theaterschauspieler sowie Filmregisseur, Drehbuchautor und Filmproduzent. Tim Blake Nelson (* Mai in Tulsa, Oklahoma) ist ein US-amerikanischer Film- und Theaterschauspieler sowie Filmregisseur, Drehbuchautor und. Alles zu Tim Blake Nelson (*) bei seforlag.se · Hier findest du alle Filme von Tim Blake Nelson, Biografie, Bilder und News · seforlag.se Serien und Filme mit Tim Blake Nelson: Watchmen · Wermut · Klondike · Chaos · Modern Family · CSI · Marvel Cinematic Universe · Dallas & Robo · Glam . Ist "O Brother, Where Art Thou?" einer der besten Filme von Tim Blake Nelson? Entdecke die besten Filme von Tim Blake Nelson.
Ihre Suche nach "tim blake nelson" ergab 36 Treffer. Sortieren nach: Bitte auswählen, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis. Tim Blake Nelson. Mit seinem zerknitterten Gesicht und den übergroßen Ohren ist Tim Blake Nelson ideal besetzt als der leicht trottelige Kettensträfling Delmar,. Serien und Filme mit Tim Blake Nelson: Watchmen · Wermut · Klondike · Chaos · Modern Family · CSI · Marvel Cinematic Universe · Dallas & Robo · Glam .
Tim Blake Nelson - Tim Blake NelsonThe Homesman. The Ballad Of Buster Scruggs. Katastrophenalarm in Seoul: Ein gigantisches Monster taucht plötzlich nachts aus dem Nichts auf, verwüstet die Stadt und verschwindet wieder in der Dunkelheit. Datenschutzbestimmungen anzeigen.
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He has been married to Lisa Benavides-Nelson since June 12, They have three children. Filmography by Job Trailers and Videos. What's New on Prime Video in June.
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O Brother, Where Art Thou? Delmar O'Donnell. Leaves of Grass Bolger. The Incredible Hulk Samuel Sterns. Ghosts of the Ozarks filming Torb.
Grampa Green voice. Wade Tillman. Show all 6 episodes. The Woodsman voice. What was difficult about that role, and delightfully challenging at the same time, was that I had these long monologues to 'Tom Cruise' qv.
That's pretty much the sum total of what the part is about. And I worked and worked and worked to memorize them so that they were word perfect.
Because, again, like a Coen Brothers script it was clear rhythmically that the way this guy spoke was something that Steven wanted to be very specific and to be achieved with little deviation.
Steven wanted Tom Cruise to be burrowing through this world populated by a lot of weird eccentric characters and I was to be one of those and the rhythm of the dialogue was quite specific so I learned it and took great pains to do so.
Then I arrived on set and was summoned to Tom Cruise's trailer. To Tom Cruise's bus, which was more like a shopping mall.
It was just enormous, so I went in and made my way past the Foot Locker and the Body Shop and found Steven and Tom in the food court, and they both had these yellow legal pads and I quickly realized that they were going through the speech and changing words and phrases here and there in almost every sentence.
I suddenly felt like I was on this cliff and I was going to plummet into the abyss of disappointing Steven Spielberg.
So I got all these changes and I went back and started desperately trying to learn them. Then I got back on set with Steven. And he wasn't happy with what I was doing and it wasn't that I hadn't fully memorized this script.
He just said, "I want an extreme character here. Not only did it click in terms of pushing me to an extreme that he would appreciate and would work for his movie but every single change they made suddenly made sense rhythmically.
Then we went off and started shooting. The other remarkable thing about Steven is that he can do pretty much everyone's job on a movie set.
He doesn't want to, and he doesn't try to, but he can do it. That man could literally operate the camera, set dolly tracks, flag lights, sew costumes, design costumes, work the soundboard.
He can put a lav mic on an actor. I wouldn't be surprised if he could do my makeup. He knows every single facet of a movie set.
It's utterly remarkable and therefore it's no accident that he accomplishes what he does. So there was literally a six-hour pause between those two movies in terms of working on them.
It was a really lucky summer. The fun of "Good Girl" was getting to know and work with Miguel, who runs such a low-key, relaxed set that, as an actor, you feel like taking risks and failing is not going to be punishable.
The other great joy in that movie was getting to play so many scenes with John C. Reilly , who is probably as funny an actor as I've ever met, just as a scene partner.
He's a guy who you just look forward to working with every day because he's smart, he's funny, he's truthful and he makes everyone around him better.
I loved being around him. I learned a great deal and also getting to operate inside the world of Mike White , who is an extraordinary voice as a screenwriter.
That was a pleasure. When I got that role and told my wife I was going to be having sex with Jennifer Aniston in a movie her response was a derisive, "No you're not!
I did it, quite simply, because I was on the phone in my son's room-who was five at the time-when I got the offer and I said to my agent, "Scooby Doo 2?
My sons were six and two at the time. And we got to be on the set of this movie of an iconic cartoon that still plays constantly in our home.
I also got to say, "I would have gotten away with it if it weren't for you meddling kids and your dumb dog! I thought of it as something that I hoped, and still hope, will inspire sequels, since I had a great time on that movie and I felt particularly lucky to be around Edward on a set, knowing that I'd be acting and directing Edward on "Leaves Of Grass" within a year.
I felt blessed. I always love being in these technically demanding movies because that process is so mystifying to me in that I still go to movies and marvel at how stuff is achieved.
Now look at Paul. To be in a scene with Paul Giamatti and Johnny Depp I've been extremely lucky. I never fail to recognize that. That was early in my career.
I remember vividly Mike Newell walking on to the set and saying, "Everyone's looking at me as though I understand how this scene is to be shot and blocked.
I know nothing, I have no idea. He was so confident in his authority on set and in his crew's belief in him that he didn't have to hide his uncertainty.
I've taken that with me everywhere since I experienced it. Better to be honest and expose your process than to conceal with bluster.