Quotes About Scenes

There are quite detailed rules with sitcom. When people can leave scenes, act structure, joke rhythm. You can't not have a straight man.

If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.

In something like 'Frank,' which is a comedy, albeit a strange and emotional one, you can absolutely put in deleted scenes, and we did because they were just funny and great, but they weren't necessary in the overall structure.

I would like to do something dark or small. I love independent films. I love emotional scenes. I love people who are struggling with something. I think it's just the juxtaposition to my incredibly happy, positive demeanor.

As an actor, it's crucial you keep your ears open, especially when you're playing opposite comedic legends in almost every scene.

Rewriting isn't just about dialogue; it's the order of the scenes, how you finish a scene, how you get into a scene.

Too many actors try to get too much out of scenes that they ought to be leaving alone, just doing them quickly and getting the hell out.

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.

If you take a few days to write an outline, you're just making up scenes that you think will work, that you think will be interesting. But as you write it, other ideas occur - better ideas that have to do with what you're writing.

I think there are a lot more relationship scenes in my movies that people tend to overlook. A lot of scenes really feel real and are about the characters.

It's been a fascinating thing because we didn't really know how to write when we started South Park at all. It's been like, we've just sort of grown up a bit and it's amazing to just see how, if you take Butters and Cartman and put them in any scene, it works.

Herein, I think, is the chief attraction of railway travel. The speed is so easy, and the train disturbs so little the scenes through which it takes us, that our heart becomes full of the placidity and stillness of the country; and while the body is being borne forward in the flying chain of carriages, the thoughts alight, as the humour moves them, at unfrequented stations

Ironically, even the fashion in New York or Paris or Milan or whatever, or music in Berlin, or art in, I don't know, Madrid - all these scenes come and go. Everything leads back to Hollywood.

History with its flickering lamp stumbles along the trail of the past, trying to reconstruct its scenes, to revive its echoes, and kindle with pale gleams the passion of former days.

One more thing: Linda, can you get to Canterbury and take over my Chaucerian Society? They're at Dovecote Hostelry in the old city. We're visiting all the scenes of the great murders. Tomorrow they want to see where Becket was killed. They're a bloodthirsty lot, it seems.

With imagery scenes the process, from original stressor to final reward, takes place entirely in imagination —except for the relaxation. That is real.

I look for an interesting and often times, fresh character. Something different that what is done all the time or than I've done recently. I look at who is directing. Those two variables as well as a third, which is the content and the quality of the screenplay. I look at the arcs of the scenes and characters and relationships.

I'm sticking my tongue out in scenes to try to make that work in 3D. I'm thinking I'll try to get my tongue all the way out to the second row of the audience.

There are times when I do feel very nervous when I start a film. And I feel very nervous before the release. I do get stuck in some scenes, but that's very natural and human. It happens to all the artistes in the world.

My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.

I was in a movie with Marlon Brando. Now, I didn't have any scenes with Marlon Brando, but I had scenes with Martin Sheen and was around Dennis Hopper, who was a child actor in the studio system and was enamored of James Dean, as was Martin, and they were all sort of disciples of Brando.

I realized being on the set that I love doing stunts and I love fighting and I love action, so it was really fun to shoot those scenes.

I prefer to underplay scenes rather than, you know, be big and drive them. And sometimes you have to do that, but I like the more natural styles.

I don't want to lose you over tedious genealogy and history that must be very dim to you. This is a story of real people who lived and died, about their times and what went wrong. I shall try to be honest even when it's apparent that I am making things up, delivering scenes I couldn't have witnessed. I know the truth in my bones. And that's what I shall give you.