Scene Quotes
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When people know what you want, they can then manipulate that to achieve the end that they seek. It's far more interesting and valuable to bear witness to a scene and make good relationships without explicitly seeking something. You're more likely to obtain a far richer and honest experience that way.
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I suddenly feel a vague pity for all those writers who have to ply their trade from sleepy American suburbs, writing divorce scenes symbolized by the very slow washing of dishes.
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We were born ahead of our time. Don't forget that the riot-grrl scene had a lot to do with making The Slits a legend, and that didn't happen until the early '90s. We couldn't get together before then, because the legend hadn't been built yet. In the 2000s, we've become bigger than life in that way. It's become really important for The Slits to be here now, but idealistically, we should have done it in the '90s.
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The family is the scene of the most intimate and powerful of human experiences. Family situations are bloodier and more passionate than any others, and the costs are greater.
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I wasn't big in the party scene but I did have an excessive lifestyle. I had much more than I needed. I think that was a manifestation of a certain kind of mental illness.
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That is what has happened to the United States in the international economic scene. We have deteriorated into a debtor status so that we are now dependent upon the kindness of strangers. That is not where the world's leading power should find itself.
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None of the chase scenes that I did had any opticals. We had to do all of that physically. The first thing you have to do is see it in your mind's eye. You have to envision it. Imagine someone knitting a sweater or a scarf. They either have a pattern in front of them, or they see a pattern in their mind's eye. Then it's one stitch at a time. That's what shooting a chase is like.
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Just once I'd like someone to call me 'Sir' without adding 'You're making a scene.'
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On a fair prospect some have looked, And felt, as I have heard them say, As if the moving time had been A thing as steadfast as the scene On which they gazed themselves away.
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“Best scene in college football is at LSU on a Saturday night.”
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You have a pre-conceived notion of what you want the scene to be, but once you get there, that goes out the window and it turns out to be a way that you never imagined.
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The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.
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Yet Byron never made tea as you do, who fill the pot so that when you put the lid on the tea spills over. There is a brown pool on the table--it is running among your books and papers. Now you mop it up, clumsily, with your pocket-hankerchief. You then stuff your hankerchief back into your pocket--that is not Byron; that is so essentially you that if I think of you in twenty years' time, when we are both famous, gouty and intolerable, it will be by that scene: and if you are dead, I shall weep.
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I have been directing and involved in producing and the creating of films for quite a while as well as acting. I always think in terms of what the director needs, and not just for this scene but for the film.
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My boy, that was a TV show. I used a stunt double. I always use a stunt double. Except in love scenes. I insist on doing those myself.
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I thought that you had to work, work, work and try to be the best musician you could, and that's the only way you could make it. Then it turns out, halfway through the scene, they change the rules on you!
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When I direct and have to look at filmed scenes of myself, I suck.
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England has the most sordid literary scene I've ever seen. They all meet in the same pub. This guy's writing a foreword for this person. They all have to give radio programs, they have to do all this just in order to scrape by. They're all scratching each other's backs.
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Honestly, as an actor, all I need to know, the way I kind of look at a scene, is like a puzzle. There are certain puzzle pieces that are bigger than others, and all I need to know is if this is going to fit here to make this part of the puzzle work.
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The music scene as I look at it today is a little different from when I was growing up. The percentages are roughly the same - 95 percent rubbish, 5 percent pure.
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IN ANSWER TO THE QUESTION: WHAT SCENES ONE WOULD LIKE TO HAVE FILMED Shakespeare in the part of the King's Ghost. The beheading of Louis the Sixteenth, the drums drowning his speech on the scaffold. Herman Melville at breakfast, feeling a sardine to his cat. Poe's wedding. Lewis Carroll's picnics. The Russians leaving Alaska, delighted with the deal. Shot of a seal applauding.
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So, as opposed to getting people in to read the script and read scenes with me, what I wanted to do was sit down and chat to these people and just say, "Okay. Do you share my sense of humor? Do you understand what this film is getting at? Do you know the tone that we're trying to get to?" And it was interesting.
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Music is a huge inspiration to my style. I first got into it when I was 10: the new wave mod scene.
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I was buying old records a lot in my early teenage years and I was mostly drawn toward the artwork even more than the band itself. I loved the way the art set the scene for the music.