Top 1200 Fight Scene Quotes & Sayings - Page 5

Explore popular Fight Scene quotes.
Last updated on December 24, 2024.
As an actor, you always find your way. You have whatever preparation techniques you use, and you just go with the scene when you're on set. You can only plan so much when you're working, because things have to come naturally in the scene.
Another mistake a director can make is not to be prepared, so you get there on the day to shoot the scene, and they don't know how it should be blocked, and they're not clear on how they want to do a scene.
I do have some unfinished business with Josh Thomson. I think that's a fight fans want to see, it's a fight Bellator wants, it's a fight I want. — © Michael Chandler
I do have some unfinished business with Josh Thomson. I think that's a fight fans want to see, it's a fight Bellator wants, it's a fight I want.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
I never go into a fight thinking, 'I have to finish this guy' - that's not a part of my game plan. I go out there and fight the way I fight.
A violent scene is art, as much as a sex scene is art. For me, all the scenes were a challenge.
Whats more awkward than doing a shower scene? Rehearsing a shower scene.
The fight against international terrorism isn't just a fight against a bunch of misguided extremists; it is a fight to defend the values that we hold dear.
Today we fight. Tomorrow we fight. The day after, we fight. And if this disease plans on whipping us, it better bring a lunch, 'cause it's gonna have a long day doing it.
If you get Fight of the Night, there's a reason you got Fight of the Night: it's usually because you had that crowd on its feet, going crazy during the fight, almost like a professional wrestling match.
When I saw the scene in 'Close Encounters,' and Richard Dreyfuss's son is screaming at him - that's a heartbreaking scene. And I remember being devastated by 'E.T.' Or when E.T. started to get sick. That broke me up a little bit.
Sometimes you fight what you are, and sometimes you give in to it. And some nights you just don’t want to fight yourself anymore, so you pick someone else to fight.
I don't believe that the fight for trans rights or African American rights is different from the fight against war, or the fight for refugees.
I wouldn't call myself 'into the DJ scene.' I have friends who are DJs, like James Murphy. I was really into the DJ scene at his wedding. But generally, I'm not at the clubs. I've never been to a rave.
I have great respect for the men and women that have fought for the USA. I have family, I have friends that have gone and fought for this country. And they fight for freedom, they fight for the people, they fight for liberty and justice, for everyone. That's not happening.
I never focus on my opponent - I focus more on myself: knowing what my strengths are, where I can take the fight, how I can win the fight, and the intensity that I'm going to bring to a fight.
It was great to fight in training, great to fight in the race, but you don't need to fight in a press conference, or an interview, or a personal interaction. — © Lance Armstrong
It was great to fight in training, great to fight in the race, but you don't need to fight in a press conference, or an interview, or a personal interaction.
Once you have found the right shot to introduce the scene-written your first declarative sentence-then the rest flows. You've found the key to the whole scene.
There's an awful lot of scenes where we don't know what the scene's going to be about, we ask the audience, pick a place that the scene is happening, pick the relationship, tell us who they are, things like that.
So live. Live. Fight like hell. And when you get too tired to fight, lay down and rest and let somebody else fight for you.
When you have good writing, the rhythm of the scene is very apparent. What the scene demands is very clear.
Once you reach a certain point in your career, every fight is a new big fight, biggest fight of your life, biggest fight of your career.
I have nerves before every fight - it doesn't matter who I'm fighting - and every fight is your biggest fight, so I've always got to check myself.
You're just looking for the thing that makes this scene sort of imperative, why you have to know what changes by the end of the scene so you're really looking to find the essence of it.
What was Bruce Lee like? How did you meet? What was it like to choreograph the fight scene in Rome with him? Did you spend much time together off-screen? Those are a small sampling of the inquiries I'm asked often, wherever I go around the world.
You always have to know what the ambition of the scene is, what the purpose of that scene is in the telling of the story overall, so that you're there to support the story.
If the fighter doesn't want to fight, you're not gonna want him to fight. If the fighter doesn't want to fight, the promoter doesn't make him fight. And if he wants to retire, then it's time to walk away.
If I am 100% prepared for the fight, my opponent has no chance to win the fight. I am saying what I mean: He has a 0% chance to win the fight. There is going to be no luck involved; there is going to be nothing else to stop me from winning the fight.
There is no man, and no place, without war. The only thing we can do is choose a side, and fight. That is the only choice we get - who we fight for, who we fight against. That is life.
I always want another actor to shine in my scene because it makes the film stronger. I would encourage people to scene steal, because filmmaking is a collaborative effort.
You don't want the fight to stop on a cut or something like that. You want to finish the fight. You always have the idea that you have the chance to stay in a fight, because one blow can end it all.
I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.
Everyone knows who the money fight is, and everyone is begging for it. But at the end of the day, Conor's going to fight who he wants to fight.
The connection between pathos and broad comedy is very tight. But you do far more work in a comedy scene than you do in a straight scene. It's much harder.
I'm fortunate in that I'm what you call a utility player, in that I can take a scene, if there's five or six minor characters in a scene, that need voice and personality [and] I can supply those characters.
I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.
Warwick Davies is a cracking actor. The opening scene in the last 'Harry Potter' film, where he plays a captured Griphook, is mesmerising. His pacing is sublime, and the menace and regret he builds into the scene is fantastic.
When I was growing up, there was always somebody who wanted to pick a fight with me. I'd say, I'm not a famous boxer, my father is. If you want to fight somebody, go fight my Dad.
You fight the most with your brother. The first fight you're going to get into is with your brother. The first fight you lose is going to be with your brother. But nobody else better try to fight your brother. Only you can fight your brother without it being a problem.
I tagged a first-timer one night at fight club. That Saturday night, a young guy with an angel’s face came to his first fight club, and I tagged him for a fight. That’s the rule. If it’s your first night in fight club, you have to fight. I knew that so I tagged him because the insomnia was on again, and I was in a mood to destroy something beautiful.
They think something's gone wrong, but in Don't Look Now, for instance, one scene was made by a mistake. It's the scene where Donald Sutherland goes to look for the policeman who's investigating the two women.
In the UFC, you are only as good as your last fight. It's really a fight-by-fight type of career in the UFC. — © Frank Mir
In the UFC, you are only as good as your last fight. It's really a fight-by-fight type of career in the UFC.
It's just really, really beautiful. Each scene is one long 15 minute take without cutting. My scene is with Robin Wright-Penn so I'm pretty excited about that.
You could do a scene that takes 15 hours, but in the movie, it's only 10 minutes. The scene where they put the sauce poisoning in; it took eight hours.
On 'Awake,' we would take a couple hours per scene. Whereas on 'Anger Management,' we can take maybe 10 minutes on a scene if we're lucky.
In 'Fighting With My Family,' there's a scene where I have to wrestle; I have to do the famous fight between Paige and AJ Lee. We actually did perform it in front of all those thousands of people. And just beforehand, we had a little dress rehearsal, and there were all these famous wrestlers going around and watching as well. Terrifying.
He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.
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.
I actually like acting in things that I'm directing because I'm able to control the tone of how a scene may go and I know, very clearly, what I want from myself in that scene and what I need, as far as from a directorial standpoint.
The motivation is fighting the right fight. The type of fight I know I can fight. That's the motivation and showing the people the way Sugar Shane really fights.
When I was a kid, I'd create my own movies at home. I'd record myself doing a scene, then stop the camera, change my clothes, and do a scene as another character. It sounds silly, but I just loved to tell stories.
I would fight McGregor in any weight, no problem. It would be a good fight, I'd really like to fight him. — © Charles Oliveira
I would fight McGregor in any weight, no problem. It would be a good fight, I'd really like to fight him.
I care less if I can't be part of your scene because I am the scene. I am everything that is.
One thing my old improv teacher taught me is when you're not in the improv scene and you're standing back watching your partners, you ask, 'What does the scene need?'
Lee Strasberg taught me different ways in which a scene can be approached so that it is perfect. Acting schools also open you up - you react differently to each scene. It makes you a very reactive person.
I am fascinated by crime scene investigating. I swear, I wish I was a crime scene investigator sometimes!
American soldiers in battle don't fight for what some president says on T.V., they don't fight for mom, apple pie, the American flag...they fight for one another.
Doing that hunt scene was really quite demanding. I actually broke a rib during that scene. And then all the scenes after that became quite challenging, just breathing and laughing.
I just take it one fight at a time. If I'm able to fight, and I'm still healthy enough, I'd like to fight. But I'll know when it's time to stop.
In ascending order the qualities of Patriotism are: 1. To work, fight, or die for your own survival. 2. To work, fight, or die for your immediate family. 3. To work, fight, or die for a group, extended family, tribe, or clan. 4. To work, fight, or die for a group too large for all the individuals to know each other. 5. To work, fight, or die for a way of life.
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