Top 1200 Scene Quotes & Sayings - Page 3

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.

When you have good writing, the rhythm of the scene is very apparent. What the scene demands is very clear.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

'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!'

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.

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

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.

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.

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.

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.

A violent scene is art, as much as a sex scene is art. For me, all the scenes were a challenge.

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.

I am fascinated by crime scene investigating. I swear, I wish I was a crime scene investigator sometimes!

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.

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.

'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 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.

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.

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 care less if I can't be part of your scene because I am the scene. I am everything that is.

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

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.

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.

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 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.

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.

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.

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 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.

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.

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.

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.

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 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.

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.

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.

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.

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.

You always start a fight scene or an action scene with, 'What are we learning about this character at the moment, and how are we gonna arc him or her in the next three minutes,' and it's no different with 'Deadpool' or 'Atomic Blonde' or 'John Wick.'

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.

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.

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.

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'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.

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.

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.

Whats more awkward than doing a shower scene? Rehearsing a shower scene.

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.