Scene Quotes

Sometimes fake laughing is hard once you've done a scene 18 times. I don't want to brag, but I have a reputation for being very, very good at that. It's funny finding what's challenging about acting as you go.

Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don't any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.

Now, what is it which makes a scene interesting? If you see a man coming through a doorway, it means nothing. If you see him coming through a window - that is at once interesting.

In Rio Bravo when Duke makes love to Feathers, the scene dissolves to the next morning where we see him putting on his vest and almost humming. It was subtle, but you knew what happened. Give me a towel and some blankets any day!

The English scene got more media attention with their emphasis on fashion, with the safety pins and all. There were some really good bands over there. The Sex Pistols were great.

That a great battle must soon be fought no one could doubt; but, in the apparent and perhaps real absence of plan on the part of Lee, it was impossible to foretell the precise scene of the encounter.

There was some scene in The Blues Brothers movie, when they had the chicken wire across the front of the stage, and it was almost like that. They had a big guard rail around the stage, which kept the college kids from getting on... we had some good times.

I've made humanitarian causes and my children much more my priority than the Hollywood scene, being liked and getting movie parts.

I don't think I ever will do a sex scene because of my religion and my personal standards.

I think it's just a lot more pressure to make the scenes work when you're doing a film, because when you're doing a series you feel like, I have so many scenes, so many episodes, so if I don't get it exactly right this time, I have another scene later. You feel less pressure.

The lighting is so important. One thing that makes me nuts about the lighting now is that they spend an enormous amount of time lighting the set, the background. But the most important thing in the scene is the actor.

Once during a taping there was an actor who kept blowing his lines. It happened again and again. Finally Norman Fell came out-he wasn't even in that scene. But Norman came out and you know what he did? He killed the guy with a hammer.

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.

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.

The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.

I feel that the thing that probably aided me the most in that scene with the dog was the utilization and using an actual recreation, affective memory, if you want to call it, of pain.

However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.

It really depends, but, generally speaking, just because of the mechanics of it, voice-over is easier because there is no hair, no makeup, no wardrobe, no fittings, no line memorizing. You don't have to me woken up in Russia at 6 in the morning and go film a scene. It's just easier on the body, the family life to do voice-overs.

I can't stand the club scene.

It is very, very difficult for a playwright to write a scene in which a young man has his first deep experience of sex with a girl whom he found immensely attractive, is fully satisfied by this event and gets up and blinds a lot of horses.

It's a weird scene. You win a few baseball games and all of a sudden you're surrounded by reporters and TV men with cameras asking you about Vietnam and race relations.

The title always comes last. What I really work hard on is the beginning. Where do you begin? In what tone do you begin? I almost have to have a scene in my mind.

Remember the first time you went to a show and saw your favorite band. You wore their shirt, and sang every word. You didn't know anything about scene politics, haircuts, or what was cool. All you knew was that this music made you feel different from anyone you shared a locker with. Someone finally understood you. This is what music is about.

The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.

When you're around the whole Dead scene, they're there as a tribal thing; they're there as part of a rendezvous and a pow-wow.

When I'm shooting a film, I don't look at playback. I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.

Sci-fi films are the epic films of the day because we can no longer put 10,000 extras in the scene - but we can draw thousands of aliens with computers.

When I watch a movie for the first few times I'm usually thinking about where I was in a given scene, who was next to me, what we were doing etc. But after I've gotten through all of this, when I'm really watching the film itself, then I get moved.

I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling.

I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole.