Scene Quotes
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I think the only thing I can remember as being the worst, or most comical moment, is when I did a Love Boat with Annette Funicello, and we had a kissing scene.
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I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
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A scene is never completed, but simply abandoned when the search for perfection is no longer producing positive results.
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I feel guilty when people say I'm the greatest on the scene. What's good or bad doesn't matter to me; what does matter is feeling and not feeling. If only people would take more of a true view and think in terms of feelings. Your name doesn't mean a damn, it's your talents and feelings that matter. You've got to know much more than just the technicalities of notes; you've got to know what goes between the notes.
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I probably still haven’t completely adapted to the world. I don’t know, I feel like this isn’t the real world. The people, the scene: they just don’t seem real to me.
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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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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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Its always really surreal, being on a film set, but inside a beautiful, massive scene.
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If you're going to walk into a scene on a stage, you've gotta know what room you just left and what just happened.
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They hadn't much faith in travel, nor a great belief in a change of scene as a panacea for spiritual ills; they were simply glad to be going.
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My cameraman and I devised a method, which we started using from my second film, which applies mainly to day scenes shot in the studio, where we used bounced light instead of direct light. We agreed with this thing of four or five shadows following the actors is dreadful.
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The last two days of shooting ('Harper's Island') was probably the most hardcore, the coldest anyone has ever been. It was like your head was freezing, and my motivation for most scenes was, 'The minute this scene is over, I'm heading straight over to that heater to get warm.'
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I have control over every single frame on Blu-ray. If I want a scene bluer, I get that scene bluer. Originally, there was some fluctuation with the prints. If you made a thousand, or a few thousand prints, there is no control over any of that. But now I can make a master using the digital process.
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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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I've got a canvas, I've got a scene, let’s fill that with sound.
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I have no scene, I go everywhere, I adapt.
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Hang there like fruit, my soul, Till the tree die!
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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 saw the industrial scene and I was affected by it. I tried to paint it all the time. I tried to paint the industrial scene as best I could. It wasn’t easy.
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I like working with actresses, and I like women a lot, not for obvious reasons, but just in that that theres so much about what they bring to the scene that keeps it so interesting. Their instincts are so different, and they never explain them to you.
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And there's so much extra material. I mean, I've certainly read as you asked about do I read reviews and stuff, like people are like none of the jokes in the trailers are like in the movie. And it's like and we have whole sequences and scenes that weren't in the movie.
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When I was younger, I would mess about and have a laugh with everyone. I was doing Atonement when I was about 12, and as we went to do this very serious scene, the director Joe [Wright] came up to me ... I'd been giggling right up to the beginning of the take. And he came up to me and said, "Okay, you need to be serious now." I completely idolized him.
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Faith-is the pierless bridge supporting what We see unto the scene that we do not.
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It's quite nice coming off doing a dark, upsetting scene. It's a relief that that's over with, and then you can get back to happy old Sophie.
