Top 1200 Fight Scene Quotes & Sayings - Page 15

I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.

I make, like, three or four times more when I don't fight than when I do fight. And, I'm one of the higher-paid guys in the UFC, which is remarkably tragic and pathetic.

The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.

When I fight for a cause and I know it, I fight for it. I'm not scared to say something. I think some tennis player, maybe they're a bit scared, whatever is the reason. Definitely, some athletes, they fight for big cause. They speak it loud. I think it's great. It's great for sport. It's great for life.

I heard there was a debate about fighting teammates, and if a fight should happen because the fans or promoter wants it, I will fight a teammate, but family is ridiculous.

I'll fight on Fight Pass; it's all the same to me.

I have control over every single frame on Blu-ray. If I want a scene bluer, I get that scene bluer. Originally, there was some fluctuation with the prints. If you made a thousand, or a few thousand prints, there is no control over any of that. But now I can make a master using the digital process.

There was an incident in Argentina when I was making a film called 'The Warrior and the Sorceress.' There were, like, 40, 50 sword fighters and martial artists on the set, and one of the sword fighters challenged me. I said, 'Look, you don't want to fight me. Nobody wants to fight me. You gotta be crazy to want to fight me.'

My trainer don't tell me nothing between rounds. I don't allow him to. I fight the fight. All I want to know is did I win the round. It's too late for advice.

To a reporter after Ray was pounded by Edmonton's Georges Laraque: What are you, the fight doctor now or something? You've never been in a fight in your life, so what are you talking about?

I did do a little research. I went to a couple really fantastic strip clubs with really talented dancers, just in terms of their physical prowess. For the scene, there was a whole dance routine that I had to do, so I worked with a pole dance instructor who helped me choreograph a number for that scene. We broke down the principles of pole dancing, for three days, for an hour a day.

When I met Elvis, we didn't really have a conversation. I was introduced by my uncle, and he sort of grunted my way. What stays with me is the whole scene. I had never seen a real mob scene before. I was really young and impressionable. Elvis really did look - he looked sort of not real, as if he were glowing.

There can be no permanent progress in the battle against hunger until the agencies that fight for increased food production and those that fight for population control unite in a common effort.

Sometimes people that are very good at improvisation in life, meaning like stage improvisation, aren't good in films because you have to ultimately take a scene where it needs to go. It's not about just saying something that's funny. You can say something funny but if it's not on story or driving the scene to its end it's really not very helpful at all.

A lot of people are blowing Shogun's fight with Mark Coleman out of proportion. He was coming off an injury, and he gassed early on in his first fight back.

Often when something is going on behind the scenes and people fight for change, the fight will go on and on and on until they understand the mechanism that they're actually fighting against.

It was important, Dumbledore said, to fight, and fight again, and keep fighting, for only then could evil be kept at bay, though never quite eradicated. . . .

I called out Rafael Dos Anjos in Brazil, so he could be a potential contender. People don't talk about Jorge Masvidal enough. He'd be a great fight: he comes to fight.

Giving a reader a sex scene that is only half right is like giving her half a kitten. It is not half as cute as a whole kitten; it is a bloody, godawful mess. A half-good sex scene is not half as hot; it actually moves into the negative numbers, draining any heat from the surrounding material.

I always try to find something or some way of delivering the lines or playing the scene that you wouldn't normally expect. And I know that sounds weird, because it's not like I surprise people with shocking performances. But in an interesting way... Just being real and as interesting as possible. Usually, that stuff is the spine of the show. It's the humor that you need in a scene, in an intense moment or something.

I have no choice of living or dying, you see, sir--but I do have a choice of how I do it. If I tell them not to fight, they will be sorry, but they will fight. If I tell them to fight, they will be glad, and I who am not a very brave man will have made them a little braver.

My father's politics were old-fashioned in the sense that he used to say, all the time, "You've got to fight the system!" But my spiritual beliefs have led me to believe that the fight is the problem.

Pushing for excellence is a fight. You have to fight to hire the right employees, fight to get the supplies you need, to move line items around. Being a great manager means pushing to get those few extra inches every day. It's almost like a football game - the team that wins sometimes wins by just inches.

When have a fight with my friend, you have a fight with me, too.

We were shooting a scene of the Phoenix Ashram in South Africa, but the set was in India. All the donkeys in the vicinity were painted black and white to look like zebras in case one of them strayed into the scene so that it would look like South Africa.

Life's a fight. It's a good fight of faith.

No one ever wants fight of the night. Every fight I've gone in, I want knockout of the night. I want to be in and out quick. Sometimes, these guys just have a lot of grit - they're highly trained, and I just can't get them out of there, so I get fight of the night.

Really, it was either fight in the UFC or fight in the WWE. There wasn't the option of both. That was a key factor. What am I going to do? I didn't want to juggle two careers anyway.

I think the Eddie Alvarez fight is a good fight that makes sense - a couple Italian guys throwing down. I've got nothing but respect for the guy.

What the American people want to do is fight a war without getting hurt. You can't do that any more than you can get into a barroom fight without getting hurt... Unless the American people are willing to send their sons out to fight an aggressor, there just isn't going to be any United States.

You know looking back on it now I used the fight and after the fight as motivation, to make sure I was going to be the best middleweight in the world for a long time.

You look at what China is doing to our country in terms of making our product. They're devaluing their currency, and there's nobody in our government to fight them. And we have a very good fight. And we have a winning fight. Because they're using our country as a piggy bank to rebuild China, and many other countries are doing the same thing.

We'd won the argument 15 years before, we were just losing the fight. And so it became clear to some of us that we would need to organise to fight, that we weren't going to win.

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.

Some directors don't say much. Michael Mann, for example. I remember on 'The Insider' he never had much to say. He would do a scene, just kind of nod, and then set it up to do it again. And you might do a scene 10 or 12 times or more, the same little 31-second bit. And you could tell he wasn't satisfied, but he wouldn't say much.

I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene. It's not a movie-by-movie or a part-by-part basis. It's a day-by-day thing, and sometimes an hour-by-hour thing.

Every day, I am reminded that our life's journey is really about the people who touch us. When you die, it does not mean you lose to cancer. You beat cancer by how you live, why you live, and in the manner in which you live. So live. Live! Fight like hell. And when you get too tired to fight, then lay down and rest and let somebody else fight for you.

Such exceptional suffering and calamity, then, affecting the hero, and-we must now add-generally extending far and wide beyond him, so as to make the whole scene a scene of woe, are an essential ingredient in tragedy and a chief source of the tragic emotions, and especially of pity. But the proportions of this ingredient, and the direction taken by tragic pity, will naturally vary greatly.

I don't care if you're Christian, you're Muslim, you're gay, you're straight - I am here to fight for your equality. Because I believe that we are all born equal, but we are not treated equally, and that is why we must fight.

I'm the biggest draw. I do the biggest numbers in this division, and it's not even close. There's a reason all these guys want to fight me. They don't want to fight Tyron Woodley. Because I'm the biggest fight and the biggest draw in the division.

I saw 'Taxi Driver,' and 'Taxi Driver' kind of saved my life. The scene where Robert De Niro is looking at himself in the mirror saying, 'You talkin' to me? You talkin' to me? Who the hell else are you talkin' to?' That's the scene that changed my life by changing my attitude about acting.

I thought after that fight between Floyd Mayweather Jr. and Manny Pacquiao, if this was supposed to be fight of the decade, then people must be missing me a lot more.

I don't write a synopsis, I don't write a treatment. I write scene by scene.

I do not care where I fight; I just want to fight.

The lacy fight was a career defining fight.

I've always wanted to fight. I love to fight.

Obviously, when you do something with drama and comedy in it - and by that, I mean a scene that has drama and comedy in it - you know the minute you introduce music, you're either scoring the drama or you're scoring the comedy, and therefore the scene becomes either dramatic or comedic.

Men do not fight for flag or country, for the Marine Corps or glory or any other abstraction. They fight for one another. And if you came through this ordeal, you would age with dignity.

It's never really fun to have to cry in a scene, or anything like that. I just try to put myself in the characters position, and that helps. It's never really fun, but at the same time, if you're having a really bad day, it's a great way to get out all of your frustration by doing a really angry or sad scene. That's always a good release.

The scene at a certain time was definitely boys; those huge warehouses were kind of violent parties, even. I think people in your immediate community made a nightlife scene that actually did break down gender roles and were along different lines of identity that had to do with race and experience in the '90s, rather than gender.

I'm not talking about what came later [after the American underground punk scene], indie music, or whatever you want to call it, but the music that came before that - that's an important story. So many interviews with musicians get the time or context wrong. You have these older bands, usually men, who tell stories about "Oh, we got into this huge fight, this guy punched that guy," that's the wrong sort of story. My view of the time is truly pioneering.

Not that I’ve ever feared a fight or backed down from one –(Wren) That’s the truth. I swear he’s half beta fish. He’d fight his own reflection to prove a point. (Maggie)

In live action, you go scene by scene, but in voice over you go line by line. In voice over you do a lot more takes.

I guess maybe I was hired to play in the Doll House because of my dinner scene in The Sixth Sense, which has been scrutinized a thousand times as to whether you know Bruce Willis is dead, or whether I'm talking to myself. I think that maybe if that could be my forte, to do a scene and be able to say it could be read this way or that way.

I always look at the motives behind each scene. You can play that out tonally with how you express yourself or you can do that with your physical expression, your physical presence. So I always think about what physical presence I want to embody in each scene.

Whenever I don’t know whether to fight or not, I fight.

For me, in movies, it's always a mixed bag. I've never made a movie where I thought, "You were really good in that movie; you were good all the time." No. It's always, "You didn't get it, you didn't do it in that scene, but the other scene is pretty good." So I just hope that in balance there's more good scenes than not.

If the UFC wants me to fight in Glasgow, I will do this in Glasgow. If they want me to fight in Africa, I will fight in Africa, you know what I mean?

I've got no interest in going over to California to fight that boring git, in a fight that no one's interested in, and that's the reason why he's trying to pimp himself out everywhere.

I kind of focus on my own stuff, really, and then when people come into my territory, I've got to fight them away, and that's what we do every time fight night happens.