Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on. ↗
It's more fun in a way to do ensemble scenes, where you know your background, you know the scene, but you can't prepare because someone else is going to say something that is going to lead you off. ↗
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. ↗
Edward finds Elinor crying for her dead father, offers her his handkerchief and their love story commences. Ang [Lee] very anxious that we think about what we want to do. I'm very anxious not to do anything and certainly not to think about it. ↗
To make it more familiar to me, I ended up treating my swordplay scenes like choreography. So it was, 'One and two and three and four and five, and turn and step and down and up and lunge.' ↗
I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters. ↗