Scene Quotations

In films of terror, it's often not about being graphic. Or if there is a graphic image, it's extremely swift. Everyone talks about the shower scene in 'Psycho,' but that's the only graphic scene in the entire film.

The scene then as now was centered in New York. For the most part, I've kept a bit apart from that attractive and seductive city. I've done it by living in the country within commuting distance.

I think the intelligent thing about it is that you have to carefully listen to it all to grasp it, and because I'm not in every scene - colossal disappointment to everybody that it may be - I'm not getting the full picture here today while recording it.

I hate when there's a deleted scene on a DVD with no explanation, or you have to go out of your way to find an alternate audio track.

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.

Don't forget to let your reader feel the emotions of the scene. If you get all tied up with the mechanics of where the hero's hands are and not about how they make the heroine feel, then the scene will read flat.

When you grow up by the sea, you spend a good deal of time looking at the horizon. You wonder what on Earth the waves might bring - and where the sea might deposit you - until one day you know you have lived between two places, the scene of arrival and the point of departure.

The pageant movie I'm obsessed with is 'Miss Congeniality', hands down! I could quote everything from that movie. I love so many scenes, but I always find myself quoting the scene when Sandra Bullock goes, 'I really do just want world peace!'

My eyes don't work, at least not fully, because they are blocked by disease. The scene around me appears through a kind of curtain, a haze.

'Everwood' I think provides a unique feeling, an emotional experience. And other shows on TV don't have the acting talent to do that. Each one of our actors can do a serious scene and a humorous scene, and can do it all within the same sequence. They can go from a heartbreaking moment to a humorous moment.

Walking at random through the streets, we came by chance upon the Cathedral of Notre Dame. I shall long remember my first impression of the scene within. The lofty gothic ceiling arched far above my head and through the stained windows the light came but dimly - it was all still, solemn and religious.

A strong emotion, especially if experienced for the first time, leaves a vivid memory of the scene where it occurred.

I didn't feel like going any further in this scene with the boy. He was not a professional actor, and if I had pushed the scene any further it would have destroyed the tone of the movie.

The first horror film I remember seeing in the theatre was Halloween and from the first scene when the kid puts on the mask and it is his POV, I was hooked.

The other guy I dug a lot was Burroughs because he was a smart man already; he learned it through the druggie pool - the street scene of an old aristocratic kind of man.

Working on a soap opera is such good training for the novice actor. No rehearsal, 120 pages of dialogue per week, and one take to get the scene right. No room for error.

I really dig the scene that's happening now, I really do, because there might be a lot of bad things going on, but if out of all of those bad things ten per cent of the groovy part of it stays, wow... you can't beat that.

I gotta say, Pluto is such a great character, and if I ever got to work with him, I'd be very happy. The scene where he gets caught in fly paper, he's such a great dog!

The scene we shot with Charlie Rose was actually the last piece that was ever shot for 'Breaking Bad.' My daughter and I flew to New York; we got to shoot in the 'Charlie Rose' studio. Adam Godley and Jessica Hecht are such expert performers that we were able to get it very beautifully and very quickly.

There's no platform for an unsigned music scene in the main cities - it's all hyped acts or showcases behind closed doors. I read about artists that are doing it 'the old-fashioned way' and touring, as if that's a unique thing to do - well, that should just be the way it is.

A good movie is three good scenes and no bad scenes.

I love working with Alexander Skarsgard. He brings such gravity to a scene.

I can't write a scene unless I've visualized it. Unless I can actually see it, and that's why a lot of reviewers have said my books are very cinematic, because I actually do see them before I write them.

Jeff Bridges taught me a lot about how to keep a scene fresh.

I like to really know what every scene is about, what the text is, what the subtext is. Then I figure out how to express that when I'm shooting.

My instinct was that it was Sidney's childhood in the Bahamas that gave him the fearlessness to fight racism. So this documentary was a kind of rounding out of what had begun in that scene in In the Heat of the Night.

Every time I find a picture of him with other women, or read in magazines that he's involved with 'groupies,' I don't go and show up where he is making a huge scene and getting our faces put all over the TV and papers.

If you're filming a scene on horseback, if you're trying to control an animal that's much larger than you and trying to get it to do the exact same thing so you can match things up, that can get tricky, especially if the horse gets tired or angry or something.

Our first scene is sort of a reunion between the X-Men characters, which establishes everyone's relationship to one another, sort of like a recap for all those who have forgotten since the last movie.

I guess I'm pleased and proud of the respect of my peers, and that when I disappear from the scene or from this earth, I will have left a mark. They'll say, 'He did it well.' I like being funny; it opens people up.

The first time I heard Johnny play at the Fillmore East, I wasn't really impressed. He had come on the scene with everybody telling me how great he was, and I didn't hear it.

I learned from an early age that my heritage, my love for people, and my desire to be a vehicle that can be used through my voice, that my expressions and actions can transport a person to experience a scene from the past, present and future.

I made a movie when I was 15 years old with all my friends. This is when IMDb was a little more lax with its proceedings, so it's listed as one of my projects. I was 15 years old; it's a terrible movie. I wrote 50 percent of it because I wanted to kiss this one girl, and I wrote a kissing scene for it.

When I draw the scene that I'd been dreaming about or had always wanted to draw, that is the time that I'm happiest.

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.

It's all about the mood I'm in and the scene I'm writing. 'Cause work controls my life, writing controls my life, performing controls my life. So I don't listen to any music that's not an influence on what I'm working on that day. Music is a big influence in my work and sometimes drives the energy of where I want to go.

I have had the opportunity to work with Andy Lincoln a lot. He's got a remarkable process. He just has these ways of sinking into the scene and into character that are very physical. He'll make these sounds and these grunts and these moans... I don't know what it is that he's channeling! It lets you know it's okay for you to do that, too.

When President Teddy Roosevelt posed for the cameras astride a massive steam shovel during construction of the Panama Canal in 1906, it was more than a simple photo op. Though the scene was clearly staged, it symbolized a crucial moment in American history.

OK, I love 'The King and I.' I'm a huge Yul Brynner fan. I love the scene where they danced after the big banquet; that's one of my favorite scenes in a movie of all time. It's romantic and sweet and wonderful.

The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.

Before that I wanted to be a magazine illustrator - I probably would have painted Gothic scenes.

It's always been my dream to do a dance scene with Anthony Hopkins.

Do you remember a scene with Ryan and Ali playing in the snow? Well, that was improvised.

He has all those different aspects to him, so I can more or less decide as a performer how I'm going to deliver a line in a particular scene, or play a particular scene in total.

On my own or with a friend, I'm a shopaholic, and I particularly love the cleaning aisle in the supermarket. But when I'm with my husband, I'm shop shy because he can't bear it. It always ends up with us making a huge scene on the High Street and then going off in a huff in separate directions.

My death scene in 'The Salton Sea' is really weird. I mean, I get shot in the head. What experience can you possibly draw from? There's nothing you can compare it to, really.

It was a matter of survival for the local people, but it was the most violent scene I have ever witnessed. The people in my group, feeling helpless, were all spellbound and aghast at the same time. I became a vegetarian shortly after that.

I often will write a scene from three different points of view to find out which has the most tension and which way I'm able to conceal the information I'm trying to conceal. And that is, at the end of the day, what writing suspense is all about.

It's pretty easy in theatre. The comedy's either physical or verbal, and you're looking at the whole frame at once. But TV executives want close-ups. I keep telling them to look at Preston Sturges' movies. He'll do a whole scene without a cut in it, and it's a riot.

I personally have dealt with any adversity in my life with humor. That's why I told America to 'Read my hips!' on 'Dancing With the Stars' or was happy to play along with Jason Alexander and Jerry Seinfeld in the great restaurant scene on 'Seinfeld.'

Many people think voice over artists just read, there's much more to it. Without acting beats, scene study and improving skills, you won't make it.

Scene study is isolated. I suppose it's interesting, but I don't think it really teaches you about a throughline. A throughline is something you feel when you do one scene followed by another followed by another.

Every place has its own punk flavor, but they all borrowed ideas from SoCal. It's still a vibrant scene creeping into every crevasse of youth culture. When you hear grunge, you think of the '90s, but when you hear L.A. punk, it's timeless.

A scene has to have a rhythm of its own, a structure of its own.

I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.

I try not to think about any of the production side of things. If you do, you tend to get unfocused and distracted. I just try to think about the character and the scene and what I'm doing.

I am a writer who works from an outline. What I generally do when I build an outline is I find focal, important scenes, and I build them in my head and I don't write them yet, but I build towards them.

Sometimes you go into a film and you have no time to prepare and have to compress the details into a few days and then rely on the instinct and what happens when you're in a scene with other actors and that chemistry or not.

And it's a question of how far we're willing to go in order to let the ego shine, in order to let that beacon penetrate not only the local scene but the world.

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

I wanna sit behind the scenes and see nothin' but the greens.

The scene changes but the aspirations of men of good will persist.

There is a scene in one comic from the '60s-'70s where Batman finds a film, a newsreel film, of his father. This newsreel film is from the '50s, and his father has come to this costume ball in a Zorro costume, which strangely enough looks a lot like a Batman suit in the footage.

Some directors don't say much. Michael Mann, for example. I remember on 'The Insider' he never had much to say. He would do a scene, just kind of nod, and then set it up to do it again. And you might do a scene 10 or 12 times or more, the same little 31-second bit. And you could tell he wasn't satisfied, but he wouldn't say much.

The thing is, I love a great death scene - no good actor doesn't. Sorry, any actor, I should say.

I've known Larry Clark since I was fourteen. I've always skateboarded in Manhattan. Larry got into the scene in the early '90s, taking pictures and skating with us.

There are some movies I can watch over and over, never get sick of. I'll put one of those on and be puttering around the house. Then a certain scene will come on and I'll just have to go over and watch.

I changed my mind because of a scene between Howard Cunningham and Richie. The father-son situation was written so movingly, I fell in love with the project.

It was a scene I was really looking forward to, and one that I embraced, and when we were filming it, George got closer and closer and closer with that camera - he was practically up my nose for the final shot. So I knew it was a moment that I had to do my best to get right.

I'll usually see a scene in my head, playing like a movie trailer. After I've written that scene, everything takes off from there.

Obviously, my life and my job in 2010 is very different from Peggy's experience in the 1960s. I exist in a world that enjoys more equality between men and women. But I don't take any of that into my performance. I just want to play the character as who she is as an individual - scene to scene.

What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore - it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.

In Jamaica, them always have throwback riddims, recycled old beats, and the hardcore reggae scene is always present. You have faster stuff like the more commercialized stuff, but you always have that segment of music that is always from the core, from the original root of it.

So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.

The Austin music scene is the reason why so many of them moved here.

Every time I work on a scene or I work on the overall movie, I had my kids unconsciously in mind. Is that going to please them? Is it going to be funny for them? And if it is funny for them, is it going to be funny for their friends and their friends' friends?

They were looking for actors - real actors - who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.

I find it enormously valuable to be sure that that the pacing is what I think it is and that the scenes have the shape I think they have musically and dramatically.

It wasn't so much of a controlled effort to end up as part of the Goth scene.

I have two concerns with my work: having good things to act, and getting paid. In that order. Although if you're not getting paid well, that order can change. But that's what I'm concerned about. Good scenes. Decent money.

I loved being behind the scenes and finding out how they make movies.

No, we didn't shoot... in the ones that I did there were hardly any sex... there were suggestions of sex scenes but we never actually shot a sex scene as such.

Every Sherlock Holmes story has at least one marvelous scene.

I started in the club route. I did the alternative scene later on. When I lived in New York, I did the Luna Lounge and stuff, where Janeane Garofalo and David Cross and all those guys worked out of, but I came from a comedy club background. I'm proud of that background. I'm one of the people that really crossed over and did both.

The option of solicitor advocacy came on the scene a bit too late for me.

I play the father in the scene when Will and Tommy go back to Tommy's old apartment. It was a big mistake. I hope not to be in the next movie I direct.

I did this one scene in an episode of 'General Hospital', and that was my first job down in L.A. It was, like, my second audition, and I was like, 'Woo! This is easy! This is fun!' That was a really cool moment for me.

It just clicked that it was the next step for me; choreographing didn't interest me, and opening a studio wasn't a passion for me. I didn't know if I'd be very good at acting, but then my first scene in acting class... I just loved it.

I liked a lot of the scenes I did with Ryan Phillippe.

Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.

I don't find intimate scenes more difficult than other scenes.

My first scene was a streaking scene, I had to streak at a footy game, thats how I get introduced.

I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.

I heard that the same thing occurred in a scene in Alien, where the creature pops out of the chest of a crewman. The other actors didn't know what was to happen; the director wanted to get true surprise.

The classical music scene was completely unfamiliar to me. It was something that I didn't have the most fun associations around. A lot of people don't - they think of older generations and stuffiness. But it's not. You listen to the Overture of 1812, and you can hear a rock n' roll catharsis.

A good fight scene is really a good love scene.

If you got the DVD you can see that George Lucas has taken that person out, as well as the voice, and we shot this scene when we arrived in Australia during the actual filming of Episode 3.

We were having a sleepover when I was eight or nine, and we all got to stay up late and watch the original 'Frankenstein.' It was uncensored, so as a child, I saw the scene where he throws the little girl into the lake, and that freaked me out. Though not as much as when he hangs the hunchback.

It calmed me down to see that most of the time no-one gets the scene on the first take.

Of course, actors look forward to the day when they can do a big courtroom scene.