Best 474 quotes in «scene quotes» category

This s - t [smoked on scenes] called Wizard Smoke. I didn't like it. [James] Franco didn't have that hard of a time with it. Franco will smoke anything.

This word gets overused in describing actors but I think it applies to Mike [Tyson] in this case - he was totally fearless. He jumped in and played with us comedically and improvised a lot. A lot of jokes in those scenes with him are from him improvising.

Though introverts are drained by interaction, we can take immense pleasure in watching the scene around us.

Thus heavenly hope is all serene,But earthly hope, how bright soe'er,Still fluctuates o'er this changing scene,As false and fleeting as 't is fair.

Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.

To be honest, I was unaware of the huge frat-rap scene that was taking over the blogosphere until I found myself right in the middle of it. But there are really a ton of talented dudes out there doing this, and I'm just having a great time making music and being a part of it all.

To meet the demands of the fast-changing competitive scene, we must simply learn to love change as much as we have hated it in the past.

Verbal representations of such places or scenes may, or may not, have the merit of accuracy; but photographic presentments of them will be accepted by posterity with an undoubting faith.

We are drawn to Twitter the way we are drawn to the scene of an accident.

Walter is incredibly complex. I do a lot of thinking about the work I do, and try to get the rhythms of scenes.

Veteran performers are dying off, and new acts simply aren't emerging on the national scene.

We goofed around a lot and acted silly. It was great working with Mark Wahlberg too. Some off scenes I had with him I was terrified to do, but he was great.

We are never completely contemporaneous with our present. History advances in disguise; it appears on stage wearing a mask of the preceding scene, and we tend to lose the meaning of the play.

We came down here to see this teddible scene: people all pissed out of their minds and vomiting on themselves and all that and now, you know what? It's us

We had this scene where I'm supposed to be bending over to get something. I thought it was kind of cute.

Well, it's more of a sane life to be part of an ensemble! I find that the work can be more specific too and I have to really make sure I know where I am in the story because I'm not in every scene.

We have that Indian scene. We can get the Indians from the reservoir.

Well first of all, it's hard to shoot a movie and break for a long time and then come back and do, in a sense, one of the biggest scenes that each character had.

Well, one of my favorite ones to work on - besides just about any scene from 'Deadwood' - was my scene with Brad Pitt in 'Assassination of Jesse James'. That was just a fun day.

We mountaineers always live with the feeling that we came on the scene too late.

We prate of freedom; we are in deadly fear of life, as much of our own American scene betrays.

We pass now quickly from each other's sight; but I know full well that where beyond these passing scenes you shall be, there will be Heaven.

We put the murderer in charge of the crime scene.

We were the ones on scene when everything went down. We weren't better. We weren't worse. We were just the ones standing in the blast radius.

We've had experience of involvement in a local scene, and it was a good one, and we've learned a lot from it, and I don't have any need to join into that ever again. It's too counterproductive to writing music and performing to the best of your abilities. It's okay when you're 20 years old - you're getting out there and you're learning - but not when you're 30 years old.

What I hear all the time is to stop and listen. When you do a scene 30 times, and know the lines, you stop listening. The point is to listen, that's the only thing that can make it real.

Whatever you decide is your motivation in the scene, the opposite of that is also true and should be in it.

What pen can describe this scene of marvellous horror; what pencil can portray it?

What I remember myself from films, and what I love about films, is specific scenes and characters.

When I first came to New York everybody on the scene would treat me like I could play but I couldn't.

Whence are we, and why are we? Of what scene The actors or spectators?

When I admire a writer, it's for the recognizable palette - Hemingway's minimalism, the dialogue, those isolated bar scenes. But with each story or novel, he shows me something different within the framework he's built - like noticing that there's a chair in the corner I didn't see in another story.

Whats more awkward than doing a shower scene? Rehearsing a shower scene.

Whenever there's a nude scene, it's always uneasy. You're not in the comfort of your own home with your significant other.

When I do scenes with Alec Baldwin, he just stares at my boobs. That's how good of an actor he is, he finds a way.

When I'm on an adult set and I'm in a scene, I am myself. I'm not acting. I am playing to the camera, definitely, but I am myself.

When I'm on the set, I take five minutes to find the best angle for a scene, and then we just shoot it and it looks exactly what you see on screen because I don't touch it afterwards. I never think about it, before being on the set. That's my thing. I love to be stuck.

When I'm filming a kill scene [as a director], I just get happier and happier as we chop up body parts.

When it came down to doing the nude scene, I couldn't hide how humiliating it was for me; I burst into tears.

When it comes time to make the scenes concrete and shoot them, I want the freedom for it to exist which means adding, subtracting or modifying.

When you're accustomed to doing stand-up, so often you're the only person onstage and it's all your thing. It's very gladiatorial. Obviously, when you're in a scene with somebody, you're supposed to listen and react - and that's a bit of a transition.

When I was doing the screenplay, people who read the book Call Me by Your Name would go, "Oh god, what are you going to do about the peach scene?" I'd say, "I don't know, but I'll do something." And finally I figured out that there was a way of doing it without being totally graphic. You can do it in a way where the audience gets it and accepts it.

When Scorsese shoots a violent scene, it's very uncomfortable - it's not like watching 'Rambo.'

When we were doing a scene, lots of times we would collapse giggling because it seemed so silly because it felt like we were doing a home movie at times.

When you're around the whole Dead scene, they're there as a tribal thing; they're there as part of a rendezvous and a pow-wow.

When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play.

When you're doing those operation scenes, you not only have to be on top of the dialogue and the rhythm of the dialogue and what's happening dramatically, but you've got to technically get the rhythm right, so that everything is fitting with the dialogue at the right time. And you're performing the operation to the audience that's watching it. Thackery has to present it, as well. In some ways, that's the most challenging.

Working with Steven Spielberg, how bad could it be? But "1941" was one of those excessively big movies where every action scene was done and re-done and re-done again. It was so overproduced and overly expensive. And it wasn't terribly funny.

Whole scenes of your life slip away forever if you don't put them down in ink.

Who that hath ever been Could bear to be no more? Yet who would tread again the scene He trod through life before?