Top 1200 Fight Scene Quotes & Sayings - Page 7

A good cause can become bad if we fight for it with means that are indiscriminately murderous. A bad cause can become good if enough people fight for it in a spirit of comradeship and self-sacrifice. In the end it is how you fight, as much as why you fight, that makes your cause good or bad.

When I fight, part of the swagger that I had when I used to fight on the street comes out. When I fought on the street, I used to try to embarrass someone for even wanting to fight me.

The hardest scene for me is always the scene when I'm dealing with performances, when I'm actually looking at the guys and hoping that I'm covering it in the right way and that I'm handling it in the right way.

My next book is Scene by Scene: as Seen by Fay Wray. It'll be about different incidents. Just my feelings about quite a few people. Attitudes. My thoughts about the universe and simple things like that.

I don't want to be one of those guys who says, 'No, I won't fight that guy' or 'I won't fight the guy there; I need to fight him here,' or that sort of stuff. The UFC says, 'This is who you're fighting next,' and I say, 'Cool. Let's do it.'

The great thing about making an ensemble show is it becomes modular. It might work on the page to cut from one scene to another, but on the screen, it's more powerful to take that second scene and move it first or move it later.

Cliché openings in fantasy can include an opening scene set in a battle (and my peeve is that I don’t know any of the characters yet so why should I care about this battle) or with a pastoral scene where the protagonist is gathering herbs (I didn’t realize how common this is).

My worst thing that I have is that I think too much. And so it's better to go with your gut and do your best and trust the creators and the director that you have there and go scene to scene.

Every day and every scene, it's never the scene that you expect.

Get into the scene late; get out of the scene early.

There are still a lot of Mike Tyson fans out there, and a lot of disbelievers in the first fight, and they want to see us fight again. I am the emperor. If he wants to fight, I am here. If he does not, I understand.

Well we took it apart scene by scene. We examined every sentence, every full stop, every comma. He has a most wonderful eye for detail, Roman, and you know, he's a very good artist.

Donald Trump is this whirling dervish of chaos. He picked a fight with Mexico. Germany is not far behind. He will pick a fight with them. He will pick a fight with China, which would be truly cataclysmic.

I don't fight for legacy. I don't fight for none of that, I fight for that check. I'm in the check cashing business.

Stylistically, every fight in the division is a hard fight. Lyoto Machida is unorthodox, Jon Jones is long and tall with good wrestling, Ryan Bader has good wrestling. You can't pick one and say, 'I want to fight him.'

I'm, like, y'know, I didn't have a problem doing one scene in Dude, Where's My Car? I'm certainly not going to have a problem doing one scene in a [Martin] Scorsese movie!

For Hamlet, greatness means willingness to fight for reasons as thin as an eggshell: anyone would fight for things that matter; true heroes take their personal honor so seriously they will fight for things that don’t matter.

We didn't have a strong drug scene by any means. Originally, it was just purple hearts, amphetamines, speed or whatever you want to call it. When The Beatles went down south, they sometimes brought back cannabis and gradually the drug scene developed in Liverpool.

In my last scene in 'Breaking Dawn,' Bella has just died and I run outside and crumple to the ground and just lose it. I'm bawling. That was my last scene of 'Twilight' ever and I definitely had some extra motivation.

It's hard when you see a scene where it's raining, and we have the rain machine, and you see it for 5 minutes, but that scene takes all day to shoot, and you do it with rain, and the dry off, and go back and do it again.

I don't want to give any lines to anybody because otherwise they come out like bricks from their mouths. The important thing is the meaning of the scene, not the words you use, and I prefer that you find your own words to express the scene.

Of course, having a lack of emotions saves you from doing a big crying scene in the movie or something. I would try to remove myself from any situation before a scene or something like that, and just sit and think about absolutely nothing.

I've done quite a lot of dying on shows and in movies. To have a good death scene though - come on, it's brilliant. I love a good death scene!

I don't need to go over a fight scene a million times. I got it. It comes very naturally to me to do that. And our industry is a little more physical than I think some people know, with regard to how much contact is made between WWE Superstars when we're wrestling a match. Whereas on set, sometimes actors aren't familiar with that sort of physicality.

As actors we always say that once the person in a scene gets what they want, the scene is over. It's resolved. But life is never resolved - you're always in the process.

For me, emotion comes first. If I have to change a scene, invent a scene, change dialogue, or put Graff by the lake in order to feel that dynamic, and the end results feels like 'Ender's Game,' then hopefully it works.

There's often rarely any dialogue in a sex scene. With your fellow actor, it's good to talk about what the unspoken dialogue is, that's happening in the scene. You've got to play something rather than feel self-conscious or exposed.

Imagine trying to relive your worst break-up, your worst fight, the most painful death of a loved one, and just really relive it step by step, and bring it up and apply it to the scene you're in.

I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.

Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they're casting, they're dressing the scene, they're working out where the energy of the scene is coming from and they're also relying tremendously on the creative imagination of the reader.

I have great respect for the men and women that have fought for this country. 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.

Fight on, brave knights! Man dies, but glory lives! Fight on; death is better than defeat! Fight on brave knights! for bright eyes behold your deeds!

Rehearsing a scene beds a role into you. But sometimes, if you over-rehearse it without unearthing any new meaning in it, you can suddenly forget your lines. You realise that you are on a stage, not in the real world. The scene's emotional power, and your immersion in it, disappears.

The key is to remember a sex scene is a scene of dramatic action and psychological development. You need to pay attention to emotion and to a character's self-awareness or lack of self-awareness.

I am pretty good at arithmetic, and I know that the fight in front of us is a very, very steep fight. But we will continue to fight for every vote and every delegate we can get.

In the old days, you cut out a scene that might've been a really great scene, and no one was ever going to see it ever again. Now, with DVD, you can obviously... there's a lot of possibilities for scenes that are good scenes.

I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think.

Obviously, my life and my job in 2010 is very different from Peggy's experience in the 1960s. I exist in a world that enjoys more equality between men and women. But I don't take any of that into my performance. I just want to play the character as who she is as an individual - scene to scene.

When I first got to WWE, people thought I was going to be fired within three months. No one liked me; no one wanted me there, whether it was the fans or the people backstage. I had to fight and fight and fight to earn my spot.

Music is very helpful, not just for the actors, but the whole crew and myself. It gives you the tone of the scene. Everyone is focused on the tone of the scene when we are shooting, and we are having an emotional reaction to the music immediately.

I want to fight the guys that are ranked above me, even though I don't care about rankings because they're just opinions anyway. Even if a guy is below me and wants to fight, I'll take the fight if it makes sense.

When you allow an animator to focus on a portion of the film and really understand the arc of the scene, what's happening with the characters, they can make choices all along the way that reinforce the main points of the scene. They really get to know what's happening.

That generation really has to fight for a new political language, social movements, and alliances with students from other countries. They have to convince labor, parents, and the general public that the fight over higher education is a fight that benefits everyone in a sustainable democracy and not just faculty and students.

But the more I read... after awhile... I begin to find they were all writing about the same thing, this same dull old here-today-gone-tomorrow scene... Shakespeare, Milton, Matthew Arnold, even Baudelaire, even this cat whoever he was that wrote Beowulf... the same scene for the same reasons and to the same end, whether it was Dante with his pit or Baudelaire with his pot... the same dull old scene...

I felt like my Ellenberger fight, I think I fought a really good fight. I was technically on-point, I was sharp, and watching the fight I wasn't disappointed. But I didn't have fun at the end of the day, and that's what I do this for. I want to express myself when I'm up there, like an artist painting a picture.

Obviously I love writing with Katy [Pery], I feel like we're the same person when we write together. Even though we fight a lot, we fight over every line and we pull each other's hair and we cat-fight all the time, it's always worth it in the end.

There is one confrontation scene toward the end of the picture. In the middle of the scene, I thought, That's Sean Connery! I don't know how else to describe Sean Connery. I still feel that way.

I enjoy some physical stuff. But if I had a choice between playing a scene where it's raining, it's terribly cold, I'm wet and I'm being drowned and playing a scene with dinosaur eggs in a laboratory, I'd probably take the latter. It's warmer and generally more comfortable!

Fight for the value of your person. Fight for the virtue of your pride. Fight for the essence of that which is man: for his sovereign rational mind. Fight with the radiant certainty and the absolute rectitude of knowing that yours is the Morality of Life and that yours is the battle for any achievement, any value, any grandeur, any goodness, any joy that has ever existed on this earth

I remember watching that scene in 'My Girl' where Anna Chlumsky cries at a funeral. I would cry with her and be like, 'Yeah, I think I could do that. I could do a funeral scene.'

I think there has only been one time in my entire career that I've ever gone back to shoot a scene. And it was a scene that, when we were shooting it, we knew that it wasn't working. We knew there was a disagreement between the actor and director. So, we went back.

When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

I look at Anderson Silva and he can fight moving forward, he can fight moving backward, and he can fight moving left or right. It's something that I don't think anyone else in the sport other than Chuck Liddell has really been able to do.

If you will not fight for right when you can easily win without bloodshed; if you will not fight when your victory will be sure and not too costly; you may come to the moment when you will have to fight with all odds against you and only a precarious chance of survival. There may be even a worse fate, you may have to fight when there is no hope of victory, because it is better to perish than to live as slaves.

If you have that group of people who are both nice and also creative, then you have surprises like a room with monkeys in them. That has taken a very good scene and just made it a great scene. I want my movies to be visually interesting and to have a lot of energy and be colorful and full of life.

I've always felt toward the slightest scene, even if all I had to do in a scene was just to come in and say, 'Hi,' that the people ought to get their money's worth and that this is an obligation of mine, to give them the best you can get from me.

Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.

My parents didn't really restrict my movement, so I got involved in the underground music scene and the activism scene; I was doing some volunteering in food relief. I spent a lot of time throughout the city in poor areas, even though my family lived in a wealthy area.

There's always going to be a fight between mainstream and underground because the mainstream is a very small bubble, and the underground scene is a very small bubble, and they both see themselves as secret societies.

The most moving speech I have ever heard was Hugh Gaitskell saying he would 'fight, fight and fight again to save the party we love. That was the right message in 1960, and I believe it is still the right message today.