Scene Quotes

The scene where I took my eyelashes off we did in two takes.

In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.

I started off in England and very few people knew I was Australian. I mean, the clues were in the poems, but they didn't read them very carefully, and so for years and years I was considered completely part of the English poetry scene.

We're real people and we're a band that's been playing on the scene for a long time. We've made a lot of friends, and one enemy we've always had was the NME. They've always basically slated us and they've basically never ever written about the music.

We have so much pride in welcoming these passengers onto the plane, and they have so much pride in travel. It's something that I definitely always remember, when I'm playing a scene on the plane, just to imbue everything with that sense of excitement.

We continue to be exasperated by the view, apparently gaining momentum in certain circles, that armed robbery is okay as long as nobody gets hurt! The proper solution to armed robbery is a dead robber, on the scene.

I love the DJ scene out in the clubs. It is a great way to party and make people happy, the atmosphere is one that I use as an escape from reality.

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.

I checked myself out in that funeral parlour scene. I saw myself laughing, because there was a shot of Ed and I together and Mary was right in back of us. My head turned from the camera and I saw myself laughing, because Mary was absolutely brilliant in that thing.

I remember times when the whole music scene was just flourishing.

Then I did one fight scene, and they said it looked good. Because I did it well enough, they've given me more.

I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.

All an actor has is their blind faith that they are who they say they are today, in any scene.

A lot of times when I'm writing lyrics, I just think about insecurities that I might have and turn them into a scene. Some things may be true, and some things may not.

It was a turning point in the sense that as a scene, we can up with a lot of new ideas.

You can't give up something you really believe in for financial reasons. If you die by the roadside - so be it. But at least you know you've tried. Ten minutes in the music scene was the equal of one hundred years outside of it.

I hadn't been a recording artist all that long when albums came on the scene, and I was one of the first singers to point the way to how varied an album's contents could be.

So I decided to move that scene in the doctor's office to two-thirds into the movie, after the viewers had come to know Ryan and Ali and share in their happiness.

I just got Kill Bill: Vol. 2. I've watched it like eight times in the past two months. I just love the scene at the end between David Carradine and Uma Thurman.

I think independent movies are actually very challenging right now, because it was this huge scene and it was great for a few years. Then, it was totally co-opted by the studios. Now, it's become very corporate, the independent scene.

I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.

It was like a classic thing with Emma. So I walked in and I slammed the door and everything fell off the wall on the set. It was my second or third scene and I was so embarrassed and scared and so nervous about what everyone would say, but everyone just packed up laughing.

As this world was not intended to be a state of any great satisfaction or high enjoyment, so neither was it intended to be a mere scene of unhappiness and sorrow.

Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.

The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.

So we were doing this scene, and the kids get 20 minutes a day, um, so, all I had to do was pick him up out of the incubator and take him out, and that was the whole shot.

If I've still got my pants on in the second scene, I think they've sent me the wrong script.

As the scene of life would be more the cold emptiness of space than the warm, dense atmosphere of planets, the advantage of containing no organic material at all, so as to be independent of both these conditions, would be increasingly felt.

We had this scene where I'm supposed to be bending over to get something. I thought it was kind of cute.

Punk rock really came out of N.Y. as a philosophy before the groups were ever recorded. I had a kind-of intellectual interest in the idea of creating a new scene that could be a grassroots thing.