Top 1200 Fight Scene Quotes & Sayings - Page 6

I find that when you open on a group of people sitting down and talking, the scene sits down with them. The best antidote for that is an entrance. Begin the scene with someone entering, and somehow it’s more interesting.

If I play badly I'll pick a fight in the third, just to get into a fight. I'll break a guy's leg to win, I don't care. Afterward I say, 'Yeah all right I played badly, but I won the fight so who gives a damn.

I have so many ways I can explain the ballroom scene. But the essence of the ballroom scene would be elegance, extravagance, and fabulousness to its 100 per cent. It's a place where you can be whoever you want to be inside of already being who you are.

It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.

I fight with glory and I fight with guts and I fight with skills.

What's more awkward than doing a shower scene? Rehearsing a shower scene.

I will always stand up and fight for you and fight for your jobs and fight for your families.

When I worked with Robin Williams, now there is improv! He is just as funny as you think he is. We did at least five or six takes of every scene, improvising every scene differently. He was a riot.

'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.

I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'

Film and television are so piecemeal. You do one scene, and then you put it to bed, and then you do a scene that comes before. In a play, you have to go from beginning to end every night, and that's harder, but also more fulfilling in a way.

I would watch movies on the couch in my house. If I saw a scene played by a woman or a man - it doesn't matter - a scene I really liked, I would right away run to the mirror and repeat it.

My favorite fight was when I fought Rampage. I always wanted to fight Rampage because of the way he fights. It's about pride. The way he comes forward. My friends in Brazil would always tell me they wanted me to fight Rampage. When I fought him, it was a big deal for me. It was the first big fight I was in. It was a great fight.

We meet before the movie and she gives you charts with sounds on them and makes a tape of examples. While they are setting up the scene, I go with her to the trailer and we go through the scene and correct the speech.

I know it sounds silly, but in auditions for film or TV, the words aren't as important - you need to get into the character and have the gist of the scene. But in theater, if you don't do it word for word, then you throw off your scene partner.

To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse - we've got these two actors, we want to see them naked, so let's bring in the music and the soft light.

I don't like to have a strategy going into a fight. If he has a good right hand or a good kick or good submissions then I'll try to avoid that, but I like to be in a fight and I like to go into the fight. Even in jiu-jitsu I didn't think of pulling this guy into guard or take him down because I like to go into the fight and see what happens.

I got into shape because I took kick-boxing lessons every day to prepare for a fight scene with Taylor Lautner. I really wanted to lie down and eat Chinese food, but I kick-boxed every morning and ran. If someone was filming you with your kit off, you'd do the same thing.

Every fight is a hard fight, so I don't judge a fight until you get in there and get done with it.

I can hardly believe what these 12 caricatures [about Prophet Muhammad] have caused in the world. We Danes feel like we have been placed in a scene in the wrong movie. But I don't see the fight as a clash of civilizations. Rather, we must focus on avoiding exactly this type of conflict. We have to return to dialogue, to mutual understanding and to an acknowledgement of freedom of opinion.

Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you are scared, look into your partner's eyes. You will feel better.

Without going into too much detail, the end of my major action scene, after the climax of the scene, there was one little change that I suggested regarding the way things should turn out. It was in the detail of the tears of blood.

Like behind the car or in the pub, to do a scene, a proper nice dramatic scene, it's always a treat. And they're usually shot as one, so you've got a big chunk of dialogue to learn, and you feel like you're working.

If I have to go through Fury after my Povetkin fight - and I never look past my next fight; I am not that foolish - to get those belts, I would love to fight him next.

When Kevin Lee's name was brought up, I told everyone I thought this fight would happen. This is a good fight for me. It surprised me because nobody wants to fight in Brazil.

It was my first scene in any movie and my only scene in Kramer vs. Kramer. I was petrified.

In these interviews, they've been asking me for a while, 'If you could do a scene with anybody that you haven't done a scene with yet, who would it be?' It would be Christian Stolte. He's the most incredible actor. He is always the smartest person in the room.

I had developed a survival skill of using my wit to score for myself. If a scene was dying, I'd lob in these little bombshell lines that would get me some attention and a laugh without really helping the scene.

'A Streetcar Named Desire' is the play I've probably read the most times in my life, and I love the weirdness of all the scene outs but especially the end of the second scene, when Williams brings a tamale vendor on stage to simply say, 'Red hot!'

Someone said Anderson Silva and GSP would be a $12 million fight. I told people that for $12 million, I'd fight them both right now. At the same time. People took that as 'He's going to fight again.' It was a joke. But if you came up with $12 million, yeah, of course I will fight again.

Generally my response to seeing something really symmetrical and perfect is... it's the scene with Jack Nicholson's Joker in the first 'Batman,' the museum scene. Him just spray-painting the Mona Lisa, and whatever, with his goons.

When you fight for something, you fight the good fight. You go for it, you never stop. You get knocked down, and you get right back up. That's what we need to be teaching these kids. For that matter, even some adults.

Mohan Raja is an interesting filmmaker. He is constantly, if I may use the word, contradicting himself. He explains a scene, and then he will try to break that and rebuild it. That, to me, is filmmaking. Every scene is constructed after a lot of discussions.

I've filled my whole life trying to preserve the memory of living, in the fight against dying. Perhaps the only thing I've done, since stopping death is impossible, is to show this fight. The fight itself does not satisfy us either.

Love is never a fulfillment. Life is never a thing of continuous bliss. There is no paradise. Fight and laugh and feel bitter and feel bliss: and fight again. Fight, fight. That is life.

We’ll fight Pacquiao, I’ll stop this fight [Carlos Molina] to fight Pacquiao. What would I got to do?

A great discipline comes with knowing that everyone's very focused. I've never shot a scene thinking, I wonder if this will make it. Every scene I shoot, I know that it's going to make it into the final cut.

I've done so many sex scenes in my life and it's much easier to do a funny sex scene than a sex scene that is supposed to look like it feels.

As a fighter, you have a weight cut, and if there's a weigh-in scene you want to look way smaller and depleted. You want there to be a noticeable difference between that and the fight day. You don't drink water, except for tiny sips, and you're not really eating anything, except for a tiny slice of sweet potato every hour.

I didn't fight this fight for the blacks, the whites or the Spanish, I fought th fight for the people. We're all God's children. I don't see color. I'm not a racist When I look at Gerry Cooney, I just see a man trying to take my head off.

I'm in a wonderful position now because the rise of the whole Houston scene, the scene that we've been doing for years that people really didn't embrace a long time ago and now they're embracing it. It's good to be in the middle of that during the uprising.

When you fight, you don't fight for abstract values like the flag, or the nation, or democracy. You fight for your buddy. You fight to keep him alive, and he fights to keep you alive, and you go on that way, day after day, battle after battle. And when one of your buddies dies, something inside you dies as well. But you go on. You fight, so that his death isn't meaningless, his sacrifice isn't for nothing.

An age is the reversal of an age: When strangers murdered Emmet, Fitzgerald, Tone, We lived like men that watch a painted stage. What matter for the scene, the scene once gone: It had not touched our lives.

Why aren't Democrats voting against President [Donald] Trump's cabinet nominees en masse? Is it because they're just a bunch soft-headed Beltway lifers who don't understand that the base is pissed and wants them to fight fight fight?

Young men and women - young men and women signed up to serve in the military to fight terrorism. Hillary Clinton went to Washington to get funds to rebuild her city, and protect first responders but Donald Trump was fighting a very different fight. It was a fight to avoid paying taxes so that he wouldn't support the fight against terror.

I don't want to have to go out there and fight and be laying on my back the whole fight and have like a boring fight and the fans booing and stuff. I don't know why promoters love fights like that. I don't understand it.

You know that when you fight a guy like Georges, there are going to be a lot of demands on your time and you just have to be able to find a way to deal with it. The most important thing is, I can't let my obligations to promote the fight interfere with my obligation to get ready to fight.

My first scene ever on camera was a dinner scene and I ate all the food. They yelled cut and the actor across from me was like, 'You know you're going to have to eat the same thing every single time.' I learned the hard way.

We don't fight about music. We don't fight about artistic direction. The things like that we could fight about, we really don't. We are pretty lucky for that.

Gert: Wake me when the fight scene's over. Kitty Pryde: Oy, tell me about it. Hey, I'm Kitty. You the token pacifist of your group? Gert: Not exactly. Pacifists are like vegans, I'm more of a vegetarian. I enjoy fish and occasional maulings.

I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.

When you're on an ensemble show and you're messing around with everybody every day and you're not in every scene, and then all of a sudden you're in every scene, it's rough.

It's always going to be a fight for anyone who isn't an older white man. I want to fight for anyone who doesn't have a fight.

I fight myself. I don't fight to break Ali's record or Sugar Ray Robinson's record. I fight to please myself. I know in my heart where I'm rated. I didn't fight in Ali's era. This is my era.

I had invited 50 or 60 peers and friends, most of whom were parents, to see the film [Trust], and I asked about the last scene. It was interesting because it was split right down the middle, 50/50. About half the audience wanted it to end with the very emotional scene between Clive and Liana, and that feeling of realization and catharsis. And, the other half were adamant about keeping that last scene.

Every scene is a love scene. The actor should ask the question: 'Where is the love?'

You got to fight them, Celie, she say. I can't do it for you. You got to fight them for yourself. I don't say nothing. I think bout Nettie, dead. She fight, she run away. What good it do? I don't fight, I stay where I'm told. But I'm alive.

No scene in sacred history ever gladdens the soul like the scene on Calvary. Nowhere does the soul find such consolation as on that very spot where misery reigned, where woe triumphed, where agony reached its climax.

I will fight the fight I need to fight to win.

At the end of the day, Wonder Woman is a peace seeker. But when fight arrives, she can fight. She's a warrior, and she enjoys the adrenaline of the fight.