Top 1200 Fight Scene Quotes & Sayings - Page 3

Look around you. It's an honor to fight beside you. Today we choose to fight. For the freedom to fight on other days. So we remember what's worth fighting for.

Sometimes the scene is a sad scene but you have to play it with a laugh to find out that that doesn't work or that there's really a part of that in it, and that's what rehearsal is for, to take that time.

The stage is the opposite: you are talking loud so you can project to the back row and you know the whole play. In a movie, you are scene-to-scene; you only know the purpose of that scene. On the stage, that is artistic science. It is real, it is loving, it is truthfully you. It is two different formulas to make two different art pieces, but it is all about truth.

Film and television are very different. On the TV show, we do seven or eight scenes a day, so time and money are of the essence, and we have zero room for creativity because you've got to do each scene in only five takes. Whereas, on a film, you have an entire day to film one scene, so you have so much time to choose how you want to fill in a scene.

My job on The Gunslinger Born was to take Stephen King's novel and transform it into a detailed, seven issue, scene-by-scene story.

Actors will, in their mind, want to 'steal the scene,' and the problem is that means the scene didn't work in the first place.

Liam Smith hasn't got a belt, but I can get excited about that fight. If they pay me seven figures for the fight, I'll take that fight.

The best scene is the last great scene I did.

It's very unusual on 'Game of Thrones' for there to be a deleted scene because the scripts are pretty locked in. There's rarely a reason to say, 'Hey, we don't need this scene.'

The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.

When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."

I'll usually see a scene in my head, playing like a movie trailer. After I've written that scene, everything takes off from there.

Women are fighters. They will fight and fight and fight to get what they need, especially if they have children.

I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.

The most challenging scene for me was the spider scene, because I don't like spiders in real life. Even rubber ones I get really scared of.

When boxers are in the ring, they're simple. It's when the fight is over, that's when the other fight, the real fight, begins. That's the problem.

In a very real sense, all you do when you're shooting film or television is you shoot a scene, and then you shoot another scene, and then you shoot another scene.

Wherever the enemy wants to fight, we will follow him to the ends of the Earth. We'll adapt, we'll train, we'll advise, we'll mentor, and we'll fight, and we'll fight well.

In each scene, the writer sets up a situation, which brings a conflict as well as either a small victory or a loss at the close of that particular scene.

Football, in its purest form, remains a physical fight. As in any fight, if you don't want to fight, it's impossible to win.

It's an essential fight librarians are making, an age-old fight; yours is a battle for civilization. It's a fight for our country's founding values.

There was a scene cut out of Big Fat Liar where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.

The world of chemical reactions is like a stage, on which scene after scene is ceaselessly played. The actors on it are the elements.

If you don't like the scene you're in, if you're unhappy, if you're lonely, if you don't feel that things are happening, change your scene. Paint a new backdrop.

You think you photograph a particular scene for the pleasure it gives. In fact it's the scene that wants to be photographed. You're merely an extra in the production.

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

I love fighting. I want to fight, but there are principles in this game. You've got to have morals. I'm not just going to fight fights to fight to get nowhere.

Every fight is a fight for my life. And I step in the ring and make sure that I fight with that on the back of my mind.

In any fight that I go into, I don't like to complain about stuff because at the end of the day, a fight's a fight.

...let the emotional weight of a scene rest on the dialogue wherever possible. This is the easy way to avoid overinterpretation, which seems to be what turns a scene from sympathetic to sentimental.

I fight with emotion, but I don't fight with anger. I could be angry, but I'm not going to fight with anger because when you fight with anger you can make mistakes.

This fight means the world to me. It's what I've been dreaming about since I was 10 years old to win a world title. I'm going in their with nothing less than a victory. I think it's safe to say the fight is not going the distance and it's going to be a fight of the year candidate. He's going to come to fight, I'm coming to fight and I plan on leaving September 8th as the new world champion

I'm having fun opening up. Sort of struggling to get the audience into it. It's good. It makes you fight. Not fight like antagonistic. But fight for what you believe.

I won't fight Thiago Silva. I won't fight Cezar 'Mutante' Ferreira. I won't fight anybody who I train with.

I believe in Giroud because he loves to fight, fight the good fight and not for himself, but for the team.

The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.

I love more than anything looking at a movie scene by scene and seeing the intention behind it. It allows you to really appreciate the hand of the filmmaker.

We shall defend our island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender.

I visualize songs like a little movie scene and I try to almost talk through the scene. What emotions am I trying to get across?

Occasionally, as an actor, you're not... Sometimes, at least for me, I'm not fully in the groove until the second or third take, in which I would not want to just stop. If it's a scene that takes a lot of work and time, sometimes the scene gets better with time, and sometimes it gets exhausted. I think it just depends on the scene.

I did the underground scene growing up. I lived in Albany, New York so I'd go see Stigmata, Hatebreed, Murphy's Law so I was in that whole scene.

And that's why I chose on purpose not to have a death scene. We've seen them in a million movies and it's too much like cranking the tears out. I didn't want that scene.

This film [Chi-Raq]is a declaration. It's a scream. It's a warning. And I can really break it down to one scene. That's the scene where we have the eulogy and sermon that is given by the great John Cusack.

The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you're exposed to all the disciplines, so it's always fun to combine the two ideas - a car chase and a fight scene - and make something more dynamic.

In 'Zombieland,' it was such a freewheeling plot it almost didn't matter what the characters were doing scene to scene as long as there was a consistent banter.

When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.

We can fight the War on Terrorism in other places around the world or we can fight it here in America. The right choice is to fight those terrorists where they are.

You say you will not fight to free negroes. Some of them seem willing to fight for you; but, no matter. Fight you, then exclusively to save the Union.

I guess the difference between the Korean hip-hop scene and the American hip-hop scene is that in the American hip-hop scene, you know, they have their Jay-Zs. They can become conglomerates through hip-hop. In Korea, it doesn't happen.

I loss that fight to Phil Davis, but I'm not convinced on that fight. Because it wasn't fair for me. I'd like to do another fight.

Relationships are difficult. It's life. You love life, so you fight. You fight because you love. Otherwise, you wouldn't fight. You work. You don't want to die. Why life is a fight, I don't know, but gosh! It is.

I believe that any individual who has spiritually awakened in our time, to the degree that he or she finds a higher and deeper motive for living, is going to be driven to fight the good fight in one way or another... And in order to fight the good fight, we have to engage, we have to get into the ring, not just stand outside it and be philosophers.

I felt that one of the major issues in the third film is that Luke is finally on his own and has to fight Vader and the Emperor by himself. If you get a sense that Yoda or Ben is there to help him or to somehow influence him, it diminishes the power of the scene.

I can fight in Japan, I can fight in Europe, I can fight in U.S. How am I not marketable? I speak English.

I'm always training to fight the best fighters in the world, and if the UFC wants me to fight Georges St-Pierre, then I will fight him.

If a female actor is not comfortable with how a scene is shot and says no, it means no. They should not go ahead with the scene.

If they let people go fight jiu-jitsu tournaments, they can't stop me going to fight a boxing fight.

Without excuse and self-consideration of health or limb or life, true soldiers fight, live to fight, love the thickest of the fight, and die in the midst of it.

Since I am a person who starts work without clear knowledge of a storyline, every single scene is a pivotal scene.

I was only 14 when I started playing the east London rave scene. At the time, I was so captivated by everything. I didn't ever wanna progress out of that scene.