Quotes About Scenes

I look forward to meaningful roles that provide me an opportunity to perform, even if I appear only in a couple of scenes.

I love action. I love doing fight scenes; I always have. I love it.

When you cut a film, certain scenes fall away and don't fit into the shape of the movie.

They're called 'action scenes' because they do the acting for you. You don't have to act in action scenes. The action does it all for you. It's great.

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

Action scenes are not that different from other scenes.

I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.

I don't like to over-intellectualize scenes that are working. I tend to think when you do that you may lose it.

I really like directors who give you a certain amount of autonomy because I think a lot about my characters and I think a lot about scenes and choices.

During 'Race 2,' I had to lean down completely because there was a lot of action scenes in it.

Love scenes feel very mechanical. But our whole job is to make it look real.

Egyptians are quite incredible people. They have everything: the culture, the music, the scenes. So much of Arab music and art started there.

The action scenes you'll see in 'Saaho' are all real - it's going to look fantastic.

I had never done anything like I had done in 'Masters of Sex.' Those are some very adventurous scenes.

If your character is written well and is meaty enough, even two scenes has the potential to stand out.

Usually a video's fun, but after a while, after a couple hours it's like work because you've got to keep doing the scenes over and over and over again.

I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.

In features, we're languid: we shoot one or two scenes over, like, three days. In TV, the pace is so different. You're shooting ten scenes a day, going way into the future or way back into the past. It's complete madness, and I'm just trying to keep up with this really electric pace.

I don't write shows with dialogue where actors have to memorize dialogue. I write the scenes where we know everything that's going to happen. There's an outline of about seven or eight pages, and then we improvise it.

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.

In any movie, there are a number of scenes that get cut in an effort to keep the film from running too long. Some are of little consequence, but others are important scenes that are very painful to lose.

I've gone through my adolescence on TV so it's pretty cringey when I look back on some pictures and scenes, but that's part and parcel of being a child actor and growing up.

There was so much human suffering in these scenes that I could not respond to it.

Memory, that exhausted repertory actor, going through the exhausted, familiar lines of some tired melodrama. It moved through the now meaningless scenes with a terrible practised proficiency for her benefit alone; and she was in the wings, condemned to watch it over and over