Best 474 quotes in «scene quotes» category

Some writers can produce marvelous plots without planning it out, but I can't. In particular I need to know the structure of a novel: what's going to happen in each chapter and each scene.

Sorry I had to be so nasty to you Janina, at the end of a scene.

So we had psychiatrists and counselors and therapists around the set regularly, especially for those scenes in which Jason would be dealing with a patient to make sure we were doing it all appropriately.

Stepping out of the director's chair completely and into a scene as an actor was weird. It was more excitement about directing than anything, but I was on a high from being a director and enjoying that process so much that going back to being an actor was almost secondary because I really was loving directing.

Taking photographs can assuage the itch for possession sparked by the beauty of a place; our anxiety over losing a precious scene can decline with every click of the shutter.

Talk about high school and what we identify with in the play; things that have happened to us and all of our high school experiences that we could bring to this. And to talk about what everyone knows in each specific scene.

That's a really common trap that people in small scenes will start to rely on. They'll have all this material joking about that place, and then take a trip to Atlanta or whatever, and be like, "Half my act is gone because I can't talk about how everybody has a bicycle.

The absolute worst thing you can do in a scene is be apathetic.

That's just globalization. It's got good sides as well. But scenes aren't allowed to develop on their own anymore. Everyone knows about everything.

The ability to share whole scenes form our lives will be a valuable thing over time.

The American new music scene is remarkably vibrant.

The Clintons are obsessed with money, and they have been since they came on the national scene. I'm sure that both of them since childhood have been obsessed with money. And I mean it. I mean obsessed with not having it when they were young.

The average Englishman has no idea of the dynamism in the music scene here.

The Church is larger than any one nation or any one political scene.

The American underground punk scene, though, is a story worth remembering.

The blossom is blighted, the leaf is withered, the God of day goes down upon the dreary scene, and in short you are for ever floored.

The correct unit of study is not the play; it is the scene.

The experience of directing yourself in a sex scene is, in a way, great. It's the fantasy we all have in our lives all the time.

The great thing about the electronic music scene is that everybody can be part of it either by dancing, DJing, or organizing a party.

The good thing about recording everyone separately is it gives the directors more control - they can change one character's lines in a scene without having to re-record everybody, and the story changes a lot before the movie comes out.

The greenhouse scene! It was just so fun to have the romance and the action.

Then I did one fight scene, and they said it looked good. Because I did it well enough, they've given me more.

The Heads were the only band on that scene that had a groove.

The Internet is the crime scene of the 21st Century.

The landscape is a reflection of the inner life. Since I can't shoot the inner life, all I can shoot is the exterior but I know that when I'm filming outside, I'm filming inside. I can only really touch the inside through the mise-en-scene. So through the mise-en-scene of the outside we can explore the inside

The music scene in the '70s was like the United Kingdom in the '70s - we had a lot of unemployment, we had inflation, we had a lot of strikes going on, on a national scale, and a lot of discontent. That was reflected in the music.

The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren't hard to find.

The most boring scenes are the scenes where a character is alone.

Then if the actor comes up with, "It's more logical to do this," I just change it [a scene] on the spot.

The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.

The opening scene in A New Hope, when you see the huge ship, it goes on, and on, and on, and on, and on... that is like a joke of awesomeness.

The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough.

There are elements of that, where you'll see a scene again and you'll recognize it, but I wouldn't say it's got one conceit like that, at all. It definitely has those jokes, but it would be wrong to say this is a show where, every time you see it, you see a new angle.

There always should be something hanging unfinished before a scene ends so that there's a reason for going to the next scene.

There are no crowds out there demanding to see smoking scenes in movies.

The reciprocal civility of authors is one of the most risible scenes in the farce of life.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

There is, of course, a world of difference between cricket and the movie business ... I suppose doing a love scene with Racquel Welch roughly corresponds to scoring a century be fore lunch.

The rehearsal period is so far away from the time when the scene will actually be shot that very little is remembered.

There is a very vibrant cultural scene in Stockholm. There are lots of places where there are concerts, and there are loads of museums and theaters.

There is no such thing as originality. It has all been said before, suffered before. If a person knows that, is it any wonder love becomes mechanical and death just a scene to be shunned? There is no absolute knowledge to be gained from either. Just another ride on the merry-go-round, another blurred scene of faces smiling and faces grieved.

There is so little time on a set to build up a working relationship with a new member of crew. It is tough to be polite, especially in an extreme location where we will not get a second chance to get the scene. It is such a stressful process that I like to work with people I know and can trust.

There's a great Anton Chekhov quote. He says, "The Russian loves recalling life, but he does not love living." That scene has always been something that I have held dear. When something happens, the first thing you want to do is tell it. That's almost more exciting. It's almost simultaneous with the experience; you are already telling something incredible while it's happening. The stories that everybody carries around and repeats, I am really interested in that.

There really aren't any deletes [in The Hanover movie]. There's like one or two deleted scenes but they're not important or meaningful scenes.

There's a certain truism that you can't be self-conscious in comedy. If I'm in it and if there's a scene that has a great set-up, I will go as far as somebody will let me.

There's a lot of opportunities for scene-stealing if you're a dog.

There's always going to be a fight between mainstream and underground because the mainstream is a very small bubble, and the underground scene is a very small bubble, and they both see themselves as secret societies.

The scene isn't one of perpetual death but of life circulating within itself.

There's an old saying that applies to me: you can't lose a game if you don't play the game. (Act 1, scene 4)

There's no such thing as life; or if there is, It is faster than the weather, faster than Any character. It is more than any scene: Of the guillotine or of any glamorous hanging.