Scene Quotations | Page 2

I think the downloadable scene in general is really, really interesting for developers because it's low-risk. It doesn't require as much money as a triple-A title. And it's a great proving ground for new IPs, new concepts, new ideas - things that I think I, as a developer, find really attractive.

I never felt I would be part of the international scene for 50 caps in my wildest dreams.

Fort Smith, being the place of my longest stay, was the scene of my largest medical practice.

I don't believe moviegoers don't have patience. Screenwriters are told a scene can't be longer than three minutes, that you have to cut to the chase. Not true!

Adaptability is crucial to working on Glee because every day is adapting to something. Because we're doing a different genre of music, doing a different type of scene with a different scene partner, recording and dance rehearsals... no day is like another.

When I moved to New York at 22, I didn't know what I wanted to do. I took an improv class, and the first scene I did, I felt like 'I want to do this for the rest of my life.' It was the first time I ever felt like that about anything. I tried to make a living off improv.

If I want to draw more in a particular scene that I think is important, because of time I cannot. That's hard for me. But I've always wanted to be a manga-ka, so I'm doing what I love.

My reputation was built on hostility. I had no friends and some very virulent enemies in the old-guard art scene when I began. They threw their heavy artillery against me. They were convinced I was perverting the public taste.

There are some scenes that work beautifully in a moving, sweeping master, which is how I like to work.

I think I must have too much to eat, we were doing a scene where we were crawling, and I ripped my trousers. I was very embarrassed. I was sown in, stitched in, quickly!

I do extensive research before I begin writing, but only a fraction of the research goes into the novels. The writer does not need to tell the reader everything. But one hopes that the writer's belief in his characters is evident in the telling, just as the mood created in the writer's mind comes through in the atmosphere of the scene described.

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.

My theory is, if you can do comedy and you can be in a scene with someone like Brad Garrett and hold your own, you've really got a future in this business.

I can make a scene that's not supposed to be sexy, very sexy. It's a power you're born with. It's not a physical thing, it comes from inside. It's all in the eyes.

There is a very vibrant cultural scene in Stockholm. There are lots of places where there are concerts, and there are loads of museums and theaters.

Sometimes, my books start with a scene I see in my mind, such as a woman in a wedding dress running away from her wedding like in 'Embers of Love.' Sometimes, a book can start with a character.

Let's be clear: Neither Secretary Powell or I opposed the notion of removing Saddam Hussein by force, but we wanted to avoid the war if we could. But if we couldn't, the notion of removing Saddam Hussein from the scene seemed eminently sensible, given that you had, what, 16 or so U.N. Security Council resolutions basically saying the same thing.

I love when you get to work with people you know because there's so much more trust, and you're much more willing to be vulnerable in a scene with someone you trust.

If you cannot reconcile the difference between the elite that stay behind the scene and the right of the people, that's going to be forever chaos. It's time to compromise, to allow more democracy. Those who are stay behind the scenes must hand off and observe the law.

I actually went to see 'Rushmore,' and I came late, and I missed myself. It was great, that scene. I caught that scene the other day on TV, funny enough, the first scene that you see with Jason Schwartzman and myself, where we talk about his grades. That's a brilliant scene, and I have to say, we play it brilliantly.

I had a scene where the chair was meant to slide off the table, but do you think it would slide off? No. We were running out of time and we had to get these scenes done urgently.

You dont need a love scene to show love.

I was through as a manager. I did become involved late in the 1968 campaign at the national scene at the last minute. But I was through as a manager, and I've stayed through, incidentally.

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.

In terms of animation, animators are actors as well. They are fantastic actors. They have to draw from how they feel emotionally about the beat of a scene that they're working on. They work collaboratively.

I listened to all types of music, and obviously when I got to Seattle I was very much aware of the music scene there.

The studio scene in California is sort of ridiculous anyway.

Dave Van Ronk, for those who don't know him - probably most don't know - was a folk singer. He's kind of the biggest person on the scene in 1961 in the folk revival in Greenwich Village, biggest person on the scene until Bob Dylan showed up.

Whats more awkward than doing a shower scene? Rehearsing a shower scene.

It's a very strange experience being on set of 'Breaking Bad;' you never know what's coming next for your character. I feel like I don't even know if I'm going to live through the next scene I'm in. It's exciting to work on.

After we map out all the main characters' individual arcs, using color-coded index cards, we arrange them by episode and get a rough idea of the scene order.

When there's no technical problems, if you did the right casting, and the scene is well written, the actor will give you a strong performance with his intuition right from the start.

My writing became more and more minimalist. In the end, I couldn't write at all. For seven or eight years, I hardly wrote. But then I had a revelation. What if I did the opposite? What if, when a sentence or a scene was bad, I expanded it, and poured in more and more? After I started to do that, I became free in my writing.

Any project that you shoot, it's never going to be completely finished the way that... I don't think I've ever worked on anything where every scene has been kept in the order that it was originally in, or that it hasn't been cut down in some way.

I love creating characters that are ridiculous and flawed. To me, the most important thing about comedy is the joy it can bring to the performers and the audience alike. I love making people laugh and not over-thinking things. Some of my favorite moments are when I am doing an improv scene with friends, and I can't stop laughing during it.

In 1973, I was offered a professorship at the University of California, San Diego. Although I was certainly not unhappy at Nottingham, I had been there over twenty years from starting undergraduate studies to Professor of Applied Statistics and Econometrics, and I thought that a change of scene was worth considering.

The music scene is more competitive in the States.

I'd rather have one good scene in a movie by a great director than a small role in a mediocre movie.

At the end of the Middle Ages, nobody would ever have expected the monasteries to vanish from the scene within a generation - yet they did. Change does happen.

You're in a scene with Laura Linney or Oliver Platt or John Hickey or Alan Alda and these amazing actors and actresses, and you're like, 'Oh my God, I haven't even started; I'm nothing compared to these people!'

I become a better actor after I step on a stage in front of, like, 500 people when it's just me, a microphone and my guitar. You don't get as nervous walking into a room in front of 3 or 4 people and to do a scene or to walk on a set. You gain confidence.

The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough.

Every frame and every scene has to have an intention.

Veteran performers are dying off, and new acts simply aren't emerging on the national scene.

It's one of those scenarios where no, I never imagined that I'd be directed in a love scene - not even a love scene because it's kind of a hard-core sex scene because it's kind of just purely played for this carnal venting.

I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.

I was doing a scene in a medical tent in 18th-century battle dress, pantaloons and a ripped shirt, and the guy from the crew kept asking me if I was OK, if I was too cold. I told him, 'Are you kidding? I'm from Wales!'

Having written both comedy and drama, comedy's harder because the fear of failure's so much stronger. When you write a scene and you see it cut together, and it doesn't make you laugh, it hurts in a way that failed drama doesn't. Failed drama, it's all, 'That's not that compelling,' but failed comedy just lays there.

When we were doing a scene, lots of times we would collapse giggling, because it seemed so silly because it felt like we were doing a home movie at times.

It's almost better most times to not talk in a scene. I think you can actually express a lot more without words.

I love having 30 shots of every scene.

When I work, I like to just kind of stay quiet, stay to myself. I like to walk around a lot and figure out what's gonna happen in the scene and try to get my head straight.

I think I can speak with a degree of authority... today, the biggest driving force of movies is pace; God help you if you try to put in a scene that is about character and not plot.

I can remember on the first day on 'Chatroom,' it was just one scene for the whole day, which was a really nice luxury to have.

I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.

I try to learn from both, from features and documentaries. In both cases you have to find a way to make the camera as discreet as possible, and flexible enough to be able to capture the moment when it happens. I know from documentary how to not have a preconceived idea of what the scene could be.

People like Howlin' Wolf, Bob Dylan, The Rolling Stones, John Lee Hooker, Nina Simone, Captain Beefheart - all of these artists were what I grew up listening to every day of my life. And there's a very healthy music scene in the west country of England, where I grew up.

Greater than scene is situation. Greater than situation is implication. Greater than all of these is a single, entire human being, who will never be confined in any frame.

I like to tell students, 'I didn't burst on to the literary scene.' I'm never good at things at the beginning. I was terrible at the start. I need to work and work.

Mostly I work really unconsciously, and I think if the scenes are really well written, which they are, and if I just throw myself into it, I don't really think about it.

It should consist of short, sharply focused sentences, each of which is a whole scene in itself.

For a director, the most challenging scenes are the dialogue scenes.

'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.

It's marvelous when you visit Tokyo: they have these clubs, and they'll have 'Motown Night' or 'The Beatles - Totally Authentic and Live!' You know it's shrunk, but at least there's some sort of youthful figure to it. Whereas, the blues scene in Europe is more like, 'Here we go again.'

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.

I don't think they're gratuitous with the nudity on 'Game of Thrones.' It's very much part of the world. There's a lot of it, but that's the world they come from. It never is there to distract from the scene or the actors or story.

There is a scene in Richard Attenborough's biopic where Gandhi argues with his wife because she refuses to clean their latrine. She says it is the work of untouchables; he tells her there is no such thing. Gandhi's tactics of encouraging brotherly love across caste boundaries and urging Indians to clean their own latrines had failed miserably.

In 'Cavalry,' I had one scene where I was playing a pretty awful character.

If somebody came up with a really good idea, everyone would back it. Especially when we did the show, we had a real dedication that, if you were in somebody else's scene, everyone worked their hardest to make that scene good.

I see only defects because I'm not following the scene as it were. I'm not following the other person. It's like the best thing to clarify this is the theater.

I worked a lot in Chicago's theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.

I haven't had the time to plan returning to the scene because I haven't left it.

If life gives you lemons, don't settle for simply making lemonade - make a glorious scene at a lemonade stand.

I don't take a scene or word for granted.

There isn't much of a music scene in Hermann, unless you like polka. But the landscape I grew up in is a part of me. I spent a lot of time in the woods doing a lot of nothing to break the boredom.

We started seven years ago and finally released our first vintage in March. It's an '07 vintage from Walla Walla, which is my old hometown. It also happens to be a world-class wine region that's just exploding on the scene right now.

In the past I've worked with directors who saw very much their scene in their head and knew exactly how they were going to cut it.

It was like a classic thing with Emma. So I walked in and I slammed the door and everything fell off the wall on the set. It was my second or third scene and I was so embarrassed and scared and so nervous about what everyone would say, but everyone just packed up laughing.

I did put on weight for the last half of the film, but the Ferris wheel scene was shot with a harness on me so that if I fell I wouldn't fall all the way.

I'm sure every film it's going to be like, 'Okay, this is the scene where your shirt gets ripped off.' I'll never be able to keep my shirt on.

So I was hugely thrilled that my first scene ever on camera was with Hal Holbrook.

Actors love to act all those death scenes.

When you're on an ensemble show and you're messing around with everybody every day and you're not in every scene, and then all of a sudden you're in every scene, it's rough.

We pass now quickly from each other's sight; but I know full well that where beyond these passing scenes you shall be, there will be Heaven.

Real art is basic emotion. If a scene is handled with simplicity - and I don't mean simple - it'll be good, and the public will know it.

How it works for me is that a scene comes to mind, usually a scene between the hero and heroine, that depicts the emotional conflict. From that scene, the characters come alive for me. I don't do a lot of preplanning in any way when I write.

A court is like a scene, people want to see attractive people.

I remember, when I was writing 'Traffic,' talking to top federal drug-enforcement officials and having them say they read it and found it very good and believable, except the scene where the girl describes her resume.

A fight scene with a crazy can be quite physical. You don't feel it while you're acting, but each day you go, that hurts.

I can barely recall a single holiday when my father didn't make a scene or create some kind of chaos. We were always walking on eggshells.

I'm sure that everything you do contributes to the sort of novel that you write. A lot of actors have an understanding of drama and a good ear for dialogue and also the rhythm of speech. Similarly, my 16 years in radio drama has influenced me. You only have 45 minutes, or 7,000 words, to tell a story, so every scene has to have a point.

I really fancy Eddie Redmayne. I wouldn't mind a few steamy scenes with him.

And in the middle of one of those scenes, I suddenly felt my heart just open: it was overwhelming, to the point where I got teary-eyed. Never would I have thought anything like that could happen in a love scene.

You could do a scene that takes 15 hours, but in the movie, it's only 10 minutes. The scene where they put the sauce poisoning in; it took eight hours.

I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think.

The first time I ever screamed at someone was in a scene, and I'd never screamed at someone in my life.

I'd have a sex scene with Whoopi Goldberg or Star Jones.

If you work in Chicago in the improv scene, anyone is happy for you if you get a job.

'Friends' was an education in intelligent comedic banter; in intelligent vernacular. It was an education in scene study. It was an education in group dynamic. I came out of there with a master's degree in comedy.

Warwick Davies is a cracking actor. The opening scene in the last 'Harry Potter' film, where he plays a captured Griphook, is mesmerising. His pacing is sublime, and the menace and regret he builds into the scene is fantastic.