Best 474 quotes in «scene quotes» category

I remember my dad turning to me - my dad loves to turn to me and explain why things are funny. He used to do that with Seinfeld all the time. He did it with Colombo, too, set the scene.

I remember that I auditioned with the scene where I pull the grandfather out of the coffin. I just loved it so much.

I see only defects because I'm not following the scene as it were. I'm not following the other person. It's like the best thing to clarify this is the theater.

I started using Twitter about year after its very early adoption and ended up investing in it around that same time. I'm involved with the Tech scene and companies ranging from Facebook, Stumbleupon and Twitter.

I still feel very much an imposter in the whole music scene, which I'm quite happy about to be honest.

It has been said that Ernest Hemingway would rewrite scenes until they pleased him, often thirty or forty times. Hemingway, critics claimed, was a genius. Was it his genius that drove him to work hard, or was it hard work that resulted in works of genius?

I think in L.A., in terms of the music scene, it's a really strange place. It's really hard to get the feeling that something's happening, or the feeling that something can make it out of there.

I think improv training really orients you to character development, more than taking a Strasberg class or Meisner class. Not only is it about developing character really quickly, but it's also about being a good partner in the scene.

I think if you play music and you join a scene you're already too late.

I think the first thing I did was several scenes from Romeo and Juliet.

I think it's very hard to be naked in a scene and not be upstaged by your nipples.

It is vain to speak of approaching judgment when finding our place, our portion, and our enjoyment in the very scene which is to be judged.

I think the most emotional part in making the movie and discovering the movie - because it was a process of discovering - is all the scenes with the family.

It is no use describing a house; the reader will fix the scene in some spot he knows himself.

I thought I was supposed to have a fake six-pack in this scene

It is poverty's speech that seeks us out the most. It is older than the oldest speech of Rome. This is the tragic accent of the scene.

It's been a fascinating thing because we didn't really know how to write when we started South Park at all. It's been like, we've just sort of grown up a bit and it's amazing to just see how, if you take Butters and Cartman and put them in any scene, it works.

It's difficult for me to imagine any scene differently because I've read the book so many times. The book, as a whole, seems like a document that wouldn't withstand any changes at this point. Or perhaps I simply can't imagine having to revise it again.

It's good that people come to the shows because there's nothing fashionable about Swans. Never has been, really. We've never been part of a scene. So the people that come are really there for the music. Fortunately, there's a lot of young people and a burgeoning female contingent, which is good as well.

It's not the destination that matters. It's the change of scene.

It's hard to get lost in a scene, to get into a character when everyone's standing around you on the set.

It's nice that the independent scene is taken seriously, and has been.

It's not the subject of narration that interests me, but the structure. That's why I stay in touch with my old works, which I reread regularly. I don't hesitate to take up previously used images or even whole scenes.

It's possible that I've matured as a writer, and I hope I've matured emotionally, but I always find myself revisiting these adolescent scenes.

Ive always been ahead of the curve when it came to trying new stuff in the underground scene.

It's taking our officers much longer to respond to an accident because they have to fight their way through all of the traffic just to get to the scene

It's weird, in New York, it's like the big theme of everything is folk music and interacting with people. Maryland is where the landscape of our music comes from, it was more like, let's walk around. People are saying that we are part of some sort of folk scene. We don't feel connected with it. We do live in the city, and communicate with people. It's all folk music.

It was hard, that confrontation scene [in "Fences"], that was a hard one. I felt like it was relentless, I never felt like I could just drop the ball when the coverage was on him or anything else.

I've always enjoyed sex scenes, though you're not really supposed to. The classic answer is, 'Oh, it's not sexy at all because there are so many technicians standing around.' But I've always found them extremely arousing.

I've always loved news. I've always loved storytelling and being where the scene is.

I've always been partial to comedy. I love the idea of working on a comedic scene.

I've been around where I knew other actors were going to steal the scene, and I don't compete with them.

I very much prefer the balance in a scene to standing out and so you have to make a decision

I've never wanted to be part of an inner circle of any scene. I've always been an outsider looking to question and subvert.

I've done quite a lot of dying on shows and in movies. To have a good death scene though - come on, it's brilliant. I love a good death scene!

I've got a canvas, I've got a scene, let’s fill that with sound.

I've never written an autobiographical novel in my life. I've never touched upon my life. I've never written a single scene that I can say took place.

I wanna sit behind the scenes and see nothin' but the greens.

I wanted to watch the women interacting with [Warren Beatty], which takes he chose, and how the actresses were reacting in scenes with him.

I was fortunate to be connected with bands who later became pioneers for certain genres of music scenes. And my art went along with them for that ride and became associated with it.

I want to see more women behind the scenes.

I want to sell tracks but at the same time I want to stay true to the music I like. This is why I love the underground scene because they can stay true to what they want to do.

I was more feminine. I was a girly-girl until I moved to New York. Then I got really into the androgynous look of the early-'90s club scene.

I was never NOT confident about doing scenes without my shirt - and now I'll find any excuse to take my shirt off!

I will walk out on a scene if it's all lit and ready to go but it's not happening.

I was sad that Corpse Bride was so short. I would've liked to have had her around for way longer. She doesn't actually have that many scenes.

I was working with Michael Shannon and I was like, "Oh man I'm having trouble with this scene." And he's like, "Well, then just open it up." I was like, "But, the mark?" And I was like, what's wrong with me? And he was like, "Dude, what's wrong with you?

I wish the rock 'n' roll scene to be back in.

I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.

I went swimming the other day and my wife was watching and she said: "You know, it's funny, it's when you've got no clothes on, no one recognises you." I said: "What are you saying? That I should do more love scenes?