Top 1200 Fight Scene Quotes & Sayings - Page 4

I just have to go out and fight my fight and fight to win.

Scene by scene, you can't help being impressed by 'Mean Girls;' it's like a group of sketches linked by a theme, with some playing much better than others.

To fight is a radical instinct; if men have nothing else to fight over they will fight over words, fancies, or women, or they will fight because they dislike each other's looks, or because they have met walking in opposite directions.

While women weep, as they do now, I'll fight While little children go hungry, as they do now, I'll fight While men go to prison, in and out, in and out, as they do now, I'll fight While there is a drunkard left, While there is a poor lost girl upon the streets, While there remains one dark soul without the light of God, I'll fight-I'll fight to the very end!

When you act a scene with Sidney Poitier, he listens intently to every word you say. You can feel your words hit him. He makes the scene utterly real.

I just want to fight the world. Fight the system. Fight everybody.

I fought some guy who looked like Steven Seagal, some aikido guy or something. The fight's not even on my record, I don't remember his name. My dad was there at the fight and he said he blinked and he missed the fight, so I think I finished him fast or something. I forgot all about that fight.

I have a dream fight - boxing fight - and I am for sure gonna fight a boxing fight.

If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.

I have to see the whole scene in my head before I go out and do it. Which I do. I will envision the entire scene before I shoot it.

You always hear actresses talk about how unromantic it is to act a love scene or a sex scene - which it is. You're doing it with all these lights on and cameras flying around and people on the set.

I fight on emotions. When I don't fight on emotions, I don't fight well. I fight on emotion, because I'm in for survival.

I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.

However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.

Even within the context of the alternative scene I was a part of, within punk and hardcore and the alt scene, there was a focus on self-destruction.

It's particularly incumbent in the Middle East on Sunni Arab nations to fight for values, to fight for the protection of innocent life, to fight for the principles of civilization and stability and order itself.

I had traded the fight against love for the fight against loneliness, the fight against life for the fight against death.

Sometimes the scene just comes together, and other times, we have to build the scene from scratch, just using different takes.

It's easier to do an action scene than a love scene. I love fighting. When the camera's not rolling, I'll usually punch some of the actors, just for fun.

I could do welterweight. For the right fight, I'll do welterweight. It would have to be a meaningful fight. A world title fight, or a big meaningful fight.

For me, if there is one fight I could have, it's Conor McGregor. I'll go fight him in Ireland. He wants to fight in a football stadium? I'll fight him in a football stadium. When he jumped into the spot, he started barking up the wrong dog's alley. I'm one of the guys who laid the bricks for this great career that he is having.

I think that, just like the art scene and the music scene is exploding in LA - I mean, let's face it: if you want to be an artist you cannot live in New York anymore because it is too expensive…

I tend to believe, when you're in a relationship, if you don't fight, it's not a real relationship. You have to have arguments and tensions, otherwise I don't believe it. My mother always said, "If you don't fight, you can't have a marriage. You have to fight for each other. If you don't know how to fight, relationships tend not to last."

Our firefighters, they show up every day to fight fires. If, God forbid, there's a situation where they have to fight cancer, they shouldn't have to fight bureaucrats to get the care they deserve.

You'll still work with some directors where that doesn't happen, and sometimes it's out of necessity because you're in a really complicated, choreographed fight scene and the whole thing is being prevised in a computer, so it's been decided months before, but I think that's sneaking into the way action scenes are shot.

To me a fight is a fight, it's not a contest or a martial arts competition, it's a fight.

Some women just fight to fight. I fight to win.

I was supposed to fight Paul Daley a while back. I got staph infection in my hand and had to pull out of the fight. There's some unfinished business there. I like that fight.

I have negative feelings towards Pat Curran, but I can't let it affect me during the fight. I won't use my anger during the fight. If he thinks he will make get emotional during the fight, he's dead wrong.

I roughly draw the scene beforehand to be more confident on the set. Instead of talking and explaining certain things, I try to visually communicate the scene to my team with the story board. This is how I work.

I tend to edit some as I go - partly because one of the reasons I don't outline much is that I don't know what the next scene will be until I've actually written the previous scene.

There was a scene cut out of 'Big Fat Liar' (2002) where I had to wear a dress. This may sound kind of weird, but I really enjoyed shooting that scene.

I'm very close to Poliana Botelho, Virna Jandiroba and Amanda Ribas, too. It's like I always tell them: 'If we're going to fight, it might as well be for the belt. I don't want to fight you in a normal fight.'

I would have been more aggressive in the Ruslan [Provodnikov] fight if not because of my eye early in the fight. I had to protect that eye and be even smarter than I normally would. Don't be confused with my style just from that one fight, because I know a lot of you have only seen that one fight.

The acting background helped a lot when I started writing. I was training for it. In acting class they teach you about the stakes in a scene (and) what motivates characters. When you bring a scene to class - as an actor with your scene partner - you have to do everything. There's no producer, set decorator or anything like that. You and you partner have to do everything and that's kind of like facing the blank page as a writer.

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.

Scorsese is a fan of improv and is always pushing actors to think up something that would make the scene more fun. He loves any idea that helps the scene be alive.

I did this scene in 'Lars and the Real Girl' where I was in a room full of old ladies who were knitting, and it was an all-day scene, so they showed me how. It was one of the most relaxing days of my life.

One of the things you do, when you have a scene or whatever it is you're doing, I replay that scene in my head and pick different positions to watch it from in my head.

Test audiences are notorious for getting kind of itchy when people talk too much, and you have to trust your instincts that they don't necessarily understand that you're not digesting the movie on a scene-by-scene basis.

I'm a firm believer that if you're nervous before you go into a scene, it means the scene is going to be good, and it means you're invested in making something special.

We taped all this and then got it transcribed and picked the best lines or ideas or ways to take a scene. I've done that many times, and it can improve the script but also wreck a perfectly good scene.

Most actors work on a scene, I try to find out who the character is. So when a scene or a moment comes, I react the way she would react.

I'll fight anyone. I've never turned down a fight in the UFC, and I'm here to fight.

If you fight improperly, you can be in great shape, run marathons, swim 200 meters and I can still gas you in two minutes of a fight. If you don't know how to fight, it doesn't matter.

I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.

The Ramones were a great bunch of guys. They were very quiet, very shy. They were a little in awe of the filmmaking process, probably because we started at 7 a.m. I do remember the very first day of shooting, I met them and did the scene in the bedroom where Joey sings to me, and they were all scattered around my bedroom in my little fantasy scene. That was the first scene we shot of the movie. That scene is kind of a strange way to start a movie. "Okay, get undressed, and these weird guys in leather jackets and ripped jeans are going to sing to you."

I was grateful to have two weeks to shoot this one scene in Harry Potter. It's a big, big scene, but they have to deliver. And they have high expectations.

When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'

I've got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot 'Old Boy,' which is a very famous single-take fight scene. He's really a true master.

If you just stay with it and take it scene by scene, episode by episode, all of the questions that I have, as an actor, tend to answer themselves.

You can do a whole scene in acting without ever checking in to what the other guy is saying - it's not going to come off great, but you can get through the scene - whereas in improv, that's gonna be impossible.

What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.

The first scene I ever appeared in, it was the first scene I ever shot [during my] first day on set. I walk up to my mom with a plastic bag over my head and she says that her clothes better not be on the floor, not that a plastic bag is not a safety hazard or anything. I think it's a really cute scene and also just a very vivid memory.

Rewriting isn't just about dialogue; it's the order of the scenes, how you finish a scene, how you get into a scene.

The scene was attempted a second time, up on top of the fort, and cameras didn't even roll. Michael, though he wasn't admitting it, wasn't sure how to shoot the scene.

If I tell a man he needs to quit his soul-sucking job, he has to go home and fight with his wife or fight with his parents and fight with his in-laws and fight with everybody, because men aren't supposed to be happy; they're supposed to do well.

That's one thing I never had to do on a Mike Bay set is sit around and pontificate about the next scene; there's no time for it. You're already in the next scene.

To some extent at that time, we injected rock and roll into that scene- we played loud and that was a huge turning point for that scene. We were involved in playing with all those people.

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.