Quotes About Scene

The last scene in 'Moonlight,' that's one of the most extraordinary things I've ever seen on film in my lifetime. You see two men showing such tenderness towards each other. And it's bold; it's deep. It's complex. It's profound.

My lighting tends to use contrast as a reflection of the stakes in the scene. The higher the stakes, the more I feel I can get away with an exaggerated contrast.

I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.

There's a sense you get from the Coens' work, like 'No Country for Old Men,' where you put these characters in situations, and you just let this painful amount of time take place. Part of the tension is just how long it takes to get out of that scene.

The New York Dolls did not think of themselves as punk rock. There was no such term at the time. They were just another band in what was called the New York scene.

I will not ever say that it's good to start with too little preparation, because that's patently not true. But I don't rehearse the way a lot of directors do, to stage a scene in terms of manners and attitudes and lock them in.

Panic is rare, looting is essentially insignificant, people are not terrified and trampling each other to flee from a disaster scene, but in fact are trying to manage a situation. We may in fact revert to some sort of primordial civility.

There is really no such thing as terrifying people. It's the situation and the scene that count. Not the actor.

God, and she was changed. As commentator Matthew Henry eloquently described this scene, "Those who, through grace, are brought to experience the delights of communion with God will say that the one-half was not told them of the pleasures of Wisdom's ways."26

Pym! The Countess spotted a new victim, and her voice went a little dangerous. I seconded you to look after Miles. Would you care to explain this scene? There was a thoughtful pause. In a voice of simple honesty, Pym replied, No, Milady.

In the movies, usually bad ones, when somebody goes on a date, there's almost always a Changing Scene. Somebody in front of a mirror, clothes everywhere. Or popping out of a closet, each time in a different outfit.

Those sons of bitches up there are to blame!' Another worker shouted and jumped forward. He shook an angry fist at the blank faces that looked down on the death scene from the offices atop the yard administration. 'Sánchez's work crew had been cut back twice! It's unsafe to work with so few men! You all know that! Yes, someone's to blame, and the blame lies with those bastards that treat us like animals and our rotten union that won't protect us!

When you're young and you play music, you have a peer group, you come out of a scene. There's a lot of people you know, and then you have some success, and it all goes away.

His experiences at the scene of so many violent events had not hardened him: he was still vulnerable to the emotions of his adolescence.

Time must be slowed to a crawl to make sense of any scene of true chaos—to show the flurry of human action and reaction going off like multiple strings of firecrackers, all at once. Every

I don't personally look to my own life experiences for answers about how to play a scene.

This type of measure was in perfect conformity with Heider's premises, which viewed the cognitive universe as a scene contemplated by the perceiver and that satisfied, to a greater or lesser degree, his or her preference for balance (Heider, 1958).

Miss Parry was gazing at this scene, in an attempt to dispel the mental indigestion occasioned by reading thirty consecutive essays on the pontificate of Leo X

When you are corn and roses and at rest I shall endure, a dense and sanguine ghost To haunt the scene where I was happiest To bend above the thing I loved the most

The peak-end effect described by Daniel Kahneman and Amos Tversky could contribute as well. We would be prone to creating strong memories for the more rewarding aspects of a past scene and obscure the rest. Memory is imperfect.

Oh, love, love, love - Love on a hilltop high, Love against a cloudless sky, Love where the scene is Painted by a million stars, Love with martinis In the cabarets and bars. Oh, love, love, love...

It was that woman! They put her on trial!' She turned back to Hawthorne. 'I don't know how anyone could do that, drive away from the scene of the accident. And those two little children, lying there! What a bitch!

There's a very different kind of psychology going on in the fashion scene than in art. When artists connect to a system because they want to make a living, it's their own choice. In fashion, designers don't have that choice.

I like the rhythm of comedy in dramas, if that makes sense. In other words, I don't want to write setup, punch, setup, punch, where the joke dictates the scene; I want to find comedy in which the drama is actually driving the moment in the scene.