Scene Quotes
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The scene that has raised the most objections in 'The Interview' is at the very end, when Kim's head dissolves into flames. To me, it feels gratuitous.
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The scene was attempted a second time, up on top of the fort, and cameras didn't even roll. Michael, though he wasn't admitting it, wasn't sure how to shoot the scene.
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Tolkien is as good as Dickens at sketching a scene.
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We did every scene together, every day for four months, and it could have been a disaster, if we didn't get on, but we clicked straight away. Elijah Wood is just the nicest guy.
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Being in a bathtub with Jackie Chan, I don't know, it has a way of bonding you I'll tell you that. I don't know if there are some weird undertones. It was like we had met in Los Angeles and we didn't have that much to say to each other but, after that bathtub scene, we were great friends.
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Most of the time I'm thinking, I'm glad that scene was improvised.
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I give notice that Joe Public will be back on the scene in a big way. You won't have a two-team league no more.
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Inspiring scenes of people taking the future of their countries into their own hands will ignite greater demands for good governance and political reform elsewhere in the world, including in Asia and in Africa.
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I moved to Chicago in the early 1990s and I studied improvisation there. I learned some rules that I try to apply still today: Listen. Say yes. Live in the moment. Make sure you play with people who have your back. Make big choices early and often. Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you're scared, look into your partner's eyes — you will feel better.
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It [smoking] was like an aphrodisiac. Actors would say let's have another cigarette on that great scenes, and they'd blow smoke in each other's face.
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I think that it's important for a film that's in 3D that the filmmakers create the movie from a staging and scene planning standpoint with the dimensional space as one of their storytelling components.
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I'm trying to find the truth in myself. To play somebody else doesn't interest me. It's not the focus of my life. I can get through most scenes and do the acting part of it, and at best, I'm going to be mediocre.
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I'm really into the indie-music scene and listen to a lot of De La Soul.
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I'd like to think that I don't have a stock character that I go to. I'm lucky in that when you get to initiate your own scene, you get to play whoever you want. That's really kind of cool, but all my characters are short. I look on the videotape, and I thought they were taller, but they're all 5'2".
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As an actor, you can steer a scene in another direction by playing it a little differently. And honestly? I like being an actor, and I want to keep having a career.
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I hurt myself doing a fight scene with some dwarves.
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If in the sex scene you happen to be naked in front of a lot of other people you've just got to put that aside, in the same way that you have to put that aside in a fully-clothed intense dialogue scene because you're entering into that particular imaginative state of play.
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The operators should be able to manage the scene.
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I don't take a scene or word for granted.
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I listened to all types of music, and obviously when I got to Seattle I was very much aware of the music scene there.
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I think drugs played a big role in the Taboo scene. People were taking copious amounts of ecstasy, which had filtered over from New York, and at a certain point you were more likely to spend most of the night in the toilets at the club.
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Some of the most fascinating scenes in 'Unforgiven,' for me, is that scene with Gene Hackman where he's talking about the Duke of Death that Richard Harris played, and he's basically demolishing this myth of this man very unwesternly – not what you expect in a western.
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When you act a scene with Sidney Poitier, he listens intently to every word you say. You can feel your words hit him. He makes the scene utterly real.
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It's weird, in New York, it's like the big theme of everything is folk music and interacting with people. Maryland is where the landscape of our music comes from, it was more like, let's walk around. People are saying that we are part of some sort of folk scene. We don't feel connected with it. We do live in the city, and communicate with people. It's all folk music.
