Scene Quotes

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.

I got heavily into the drum-and-bass scene, which is really wicked.

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.

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.

I know pretty well in the broad sense what I'm going to do, because I have to know that when we shoot the live-action, so that it'll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.

I think there was a lot competition in the rock scene.

A lot of young actors will do a scene and then run off and look at themselves. I don't believe in that at all.

I do not want to admit to the world that I can be a bad person. It is just that I don't want anyone to have false expectations. Moviemaking is a harsh, volatile business, and unless you can be ruthless, too, there's a good chance that you are going to disappear off the scene pretty quickly.

I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.

We are drawn to our television sets each April the way we are drawn to the scene of an accident.

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

In films, the fact that you can always do a scene again takes a load off your mind, enabling you to strive for perfection, which I always wanted.