Top 1200 Scene Quotes & Sayings

My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.

[While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.

When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play.

I think it's much harder to have a long dialogue scene than an action scene. An action scene is long, but it's not really hard. It's kind of boring, really. It looks good at the end, but to shoot it, it's not the most exciting thing.

Certain things can't be approximated, so I'm always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful... Brutal language isn't necessarily the most truthful way of describing a brutal moment.

What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.

All directors on all sets behave slightly differently depending on what the scene is. For example, if you are doing a love scene, which is intimate then the director is likely to be intimate. If you are doing a scene where everyone is mucking around and laughing then the director is likely to start with that. If you are playing a scene which us incredibly heavy and everyone getting killed then there are probably not many laughs on the set.

It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.

Usually on a film set it's making sure that everyone is there for their scene, and the moment their scene is over they disappear.

I'm an emotional actor. When I'm doing a scene, I really believe it. I live the part as long as I'm in the scene.

Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.

I don't think that any scene [in Pineapple Express] is word for word how you'd find it in the script. Some of it was much more loose than others. The last scene with me, Danny [McBride] and James [Franko] in the diner - there was never even a script for that scene. Usually we write something, but for that scene we literally wrote nothing.

You're not doing the scene exactly the way it is in the book [The Hunger Games], but the intention of the scene is there.

I had one day with him, and he was asleep in the scene, but I told my entire family that I was in a scene with Michael Caine.

There was a little less pressure to be fit on 'The Avengers' than 'Captain America.' I had just finished 'Captain America,' so I was already built. Plus, 'Captain America' has that one scene dramatic scene where my transformation is revealed. 'The Avengers' has not one shirtless scene.

I love Charlie, Billy Burke's character. Writing for him is so spectacular, he's so funny and wry and every scene he's in he just takes. There's a scene in 'Eclipse' where Bella tells him she's a virgin, and it's the funniest, most awkward scene I've ever seen on film.

I walk into a scene, and I do the scene. That's my job. I don't have an objective. I have the words, and I have whoever I'm playing with.

Sometimes when I do a musical, they'll be a scene that comes up, and I'm like, 'Oh, I hate this scene,' but you get through it.

And you can't hide in a comedy scene either. You have to give in to the scene and commit.

I want to attack and to lead my life with vigor, but I'm in the watching stage at the moment. Younger actors feel pressure to bring a pop to every scene; as the roles get bigger, I'm finding you can add layers and do less scene-to-scene.

Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.

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.

I actually went to see 'Rushmore,' and I came late, and I missed myself. It was great, that scene. I caught that scene the other day on TV, funny enough, the first scene that you see with Jason Schwartzman and myself, where we talk about his grades. That's a brilliant scene, and I have to say, we play it brilliantly.

You can't feel sorry for a scene. If the movie works without the scene, then you don't need the scene.

I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world

have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?

...a story should be like a roller coaster. That is to say before writing a really cruel scene, I have to lift the people's spirits, for example, with a fun scene... Before writing a scene of pure despair, we must go through scenes of hope. And indeed, when I write, all of this amuses me very much.

A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage

A movie and a stage show are two entirely different things. A picture, you can do anything you want. Change it, cut out a scene, put in a scene, take a scene out. They don't do that on stage.

That was sheer luck that it [being immersed into folk scene] happened when my voice began to develop. I don't know exactly what would have happened if I hadn't been alive and well and really lively in the Cambridge scene. But (the folk scene) was, and I fell into it absolutely naturally in the little coffee shops, and pretty soon it was Newport and then it was an overwhelming response internationally, actually.

I often tell my students that you can't worry about the end of an improv scene because the end is not up to you. You just play as hard as you can until someone changes the scene. The scene has changedthe end is not up to us.

You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don't want to let your own self-consciousness block the flow of creativity that's coming out so that you can act and react, and play what the scene is all about.

The view of the local scene through the eyes of a native participant in that scene is a different window.

I wouldn’t treat a romantic scene any differently than any other scene. I would really say the biggest preparation was chewing gum and breath mints! For a kissing scene, it’s all about the breath mints!

You are not just, "This is the way I play it every night." You are constantly finding new ways in, new attacks, "I want to try it this way. Maybe this scene is affecting that scene. I want to attack this scene differently."

In scene after scene, meaning sneaks in and sometimes roars.

A nightmare would be when somebody is trying to be funnier than everyone else. And you've got a group scene or two-person scene, and one person decides, 'I'm the funny in this,' and bulldozes everyone else, and they make sure they're the reason everyone loves the scene.

In general, I don't even have the luxury of rehearsal time on most films that I make. It is just a scene-by-scene full cast read through. It's very much just doing the rehearsal sometimes the day before, at the end of the day, but just on the spot as the scene unfolds.

I personally think that all the scene that you see, love scene, is pretty real, almost 100 percent.

What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place-this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.

We were at the dark end of the L.A. punk scene, and that scene was full-on and violent and aggressive and wild and intense.

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

My first scene was a streaking scene, I had to streak at a footy game, thats how I get introduced.

Every scene in 'Ganga Jamuna' has been spellbinding for me. I can see the film any number of times and still not be able to pinpoint a scene and say 'This is the best scene!' Every scene is perfect.

I feel like if you shoot one scene all day long or you take two days to do a scene, that scene is going to be stale.

I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady… This particular scene is the most beautiful scene ever written.

It's one of those scenarios where no, I never imagined that I'd be directed in a love scene - not even a love scene because it's kind of a hard-core sex scene because it's kind of just purely played for this carnal venting.

Obviously record companies tend to be following what the scene is rather than making the scene.

In TV, sometimes you get lost in the fog of the scene, and when you're working with such good actors, they can bring you into the scene.

How it works for me is that a scene comes to mind, usually a scene between the hero and heroine, that depicts the emotional conflict. From that scene, the characters come alive for me. I don't do a lot of preplanning in any way when I write.

I'm always looking for the idea in a scene or the philosophy that makes a scene worth existing beyond exposition.

Whenever I read a script, I don't differentiate between a kissing scene or an emotional scene.

Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.

I wouldn't treat a romantic scene any differently than any other scene. I would really say the biggest preparation was chewing gum and breath mints! For a kissing scene, it's all about the breath mints!

I do feel it's tougher to make a comic scene work than performing an intense scene, for example.

I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.

The emergence of the independent hip-hop scene has replaced what we called the "underground scene". It's what the underground scene has evolved into: actual businesses.

I love more than anything looking at a movie scene by scene and seeing the intention behind it.

When you're watching a show like this or watching a movie, sometimes when you have big music in a scene, it tends to push the viewer out of the scene and makes someone feel like an audience member rather than like they're in the scene.

My first scene was a streaking scene, I had to streak at a footy game, that's how I get introduced.