Best 474 quotes in «scene quotes» category

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 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.

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.

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.

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

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

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

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.

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 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.

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

We put the murderer in charge of the crime scene.

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

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.

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

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.

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

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 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.

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

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

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 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 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 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 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.

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

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

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

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

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.

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 dont need a love scene to show love.

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

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

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 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 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.