Best 474 quotes in «scene quotes» category

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

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

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.

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 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.

You can't feel sorry for a scene. If the movie works without the scene, then you don't need the scene.

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.

You can do things in twin scenes now you couldn't before. You can implement actual moving cameras.

You can still have chemistry on screen without getting on with the person. But it just makes your job a lot easier if you don't have to gird your loins, if that's not quite the right phrase, every time you're going to do a scene with that person.

You can't hide behind the guise of fiction. No matter how autobiographical a fictional scene is, you can always tell the reader - in protecting yourself - that you made it up.

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?

You can't really gauge the difficulties of television. There's difficulties and joys that happen with an amazing, great team, when one is working. Television can be a very frustrating job for almost anybody working in television, because you're shooting episodically, and you don't know one scene from the next, and maybe they change around.

You can't write a novel all at once, any more than you can swallow a whale in one gulp. You do have to break it up into smaller chunks. But those smaller chunks aren't good old familiar short stories. Novels aren't built out of short stories. They are built out of scenes.

You got to get used to somebody, when you're acting or going through a scene, somebody yelling, "Do it a little louder!" OK, you do it a little louder.

You dont need a love scene to show love.

You guard your hopes and pocket your dreams, you'd trade it all to avoid an unpleasant scene.

You know, an audition usually is you come in and read the scene and if you're lucky, you get to read it twice.

You have the older generation like Iris Murdoch and Angus Wilson who are not as old as Graham Greene, but still are coming on. I dare say anyone who knew the scene better than I know it could fill it in with a very satisfactory supply of novels.

You just don't really rehearse kissing scenes, whether it's male or female.

You learn the values that are inherent in the scene that the writer has written. You learn about who you as a character are in relation to those others who are working with you within that scene.

You know how some trees have those ear mushrooms that just grow off, and you could live on one of those mushrooms and not realize that there was stacks and stacks of others? That's how I describe music scenes in New York. That's one of the trippiest things about living here - just how many parallel universes there are that you can be completely unaware of.

You learn your lines as well as you can and you go in there and go with whatever is thrown at you. Sometimes you don't know whether or not they're going to break the scene up, so you don't have to do it all at one time.

You never have to change your scene because you're always comfortable with evolving.

You really have to work harder to come up with new ways to play the scenes.

Aucun n'est d'un métal si pur qu'il laisse l'autre sans voix.

You're my best friend in the scene and together we can make sense of what's going on by being Together.

Arms wrapped around [Darcy's] abdomen from the back. Fingers felt for the spot above his navel. Two fists pushed in and upward. Darcy felt a violent squeezing sensation. The offending prawn shot out of his gullet, flew across the table, and knocked Tate's wine glass over...Tate looked down at the partially chewed shrimp in disgust and covered it with his napkin.

You're just looking for the thing that makes this scene sort of imperative, why you have to know what changes by the end of the scene so you're really looking to find the essence of it.

I'm sure that the book is incrediable, phenomenal and so on and so on going in positive direction... But the film wasn't made well (I'm talking about NeedFul Things by Stephen King), the effects weren't good, some scenes were missed, for example I'm very curiouis how does the guy kills his wife with the harmer... The scene reminds me for Shining, but Unfortunately in the Shining there were more possibilities to be saw this scene, than in this film... If some disadvantages will be fixed, then I'm sure that the film will be pretty interesting, however to don't forget about the quality!

Feral beauty tangled up and over every surface. Enormous vines and flourishing blooms swathed the area creating a shadowy, organic cathedral. A faint whiff of perfume breezed to her, like jasmine, but sweeter, more delicate—if jasmine could be more delicate without losing its scent entirely. The buzzing of alien insects reminded her of the sticky, summer days of her childhood in the South, and cicadas filled her memory with their incessant mating calls. Here, however, the insects grew louder as it grew darker. It seemed even they understood the dangers of daylight.

Friar Laurence: O, mickle is the powerful grace that lies In herbs, plants, stones, and their true qualities: For nought to vile that on the earth doth live, But to the earth some special good doth give; nor aught so good, but, strain'd from that fair use, Revolts from true birth, stumbling on abuse: Virtue itself turns vice, being misapplied, And vice sometime's by action dignified.

Improvisation is the power of spontaneous observation.

[on scene execution] Interesting isn't the point...storytelling momentum and relevance is.

It may be expedient to take stock of all the affecting pieces that might shatter in the wake of an emotional earthquake, once red flags come up in a committed relationship and an overarching scene has to be fashioned for a recast life experience. ("Waiting for the pieces to fall into place")

I will dive into my chaos, and my Abyss will turn it into an art scene.

Most times, the leader’s ornament isn’t the smiles you see on their faces during the time of victory. It is the sweats we don’t see when they were struggling behind the scenes.

The velvet tapestry of the night curved from horizon to horizon, flecked with thousands of tiny stars. There seemed all the more of them, for as well as filling the sky, they shimmered in an elegant ballet on the waves, the sea itself giving them life.

Stay behind the scene; then you will have more freedom to work, more freedom to think and more freedom to act!

The universe no longer seems to me a scene, at least in front of the great, blank curtain of the unknowable, filled by an orderly progress of more or less cognizable and predictable occurrences, depending upon interrelated causes; it seems the playground of the irresponsible, prankish, malevolent somethings, productive of incalculabilities.

The whole group represented a powerful picture: Ivan Nikiforovich standing in the middle of the room in all his unadorned beauty! The woman, her mouth gaping and with a most senseless and fearful look on her face! Ivan Ivanovich with one arm raised aloft, the way Roman tribunes are portrayed! This was an extraordinary moment! a magnificent spectacle! And yet there was only one spectator: this was the boy in the boundless frock coat, who stood quite calmly and cleaned his nose with his finger.

The most hideous scene of life and the world is, the lamentation of a hungry child.