Quotes About Scene

I have a painter's memory. I can remember things from my childhood which were so powerfully imprinted on me, the whole scene comes back.

If I've still got my pants on in the second scene, I think they've sent me the wrong script.

In Paris we have bistros, then we have fine dining. In London, you have a very contemporary scene with mixed influences.

Ecstasy is not really part of the scene we can do on celluloid.

I don't really go to fashion parties; they're not my scene.

One thing my old improv teacher taught me is when you're not in the improv scene and you're standing back watching your partners, you ask, 'What does the scene need?'

You need to start making an effort," Richard said. "There's a thing called the gay scene nowadays. It happens in large cities – London, Manchester, er, wherever.

Problem, purpose, conflict, goal. Use them. Think about them while you are in the planning phase of your novel; keep these elements at the back of your mind to guide you while you write. When you have written a scene, make sure they are all there, or that if one or another is missing, it is intentional and the effect is what you want.

Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.

In order for me to write a scene, it's very important for me to see and experience everything with my own eyes, so yes, I was able to visit some remarkable houses and destinations while I was in China.

The two sensibilities, the visual and the verbal, have always been linked for me - in fact, while reading a particularly evocative passage, I will imagine what the photograph I'd take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.

Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.

When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.

I am not indulgent. I think constructing a scene elaborately - with art, costume, and visual drama - is not indulgence. Other people should do it, too.

When I watch a movie I don't really care too much about the plot - not that it isn't important, but what I remember is the visual imagery, something that happens in an individual scene.

The key thing if you're a writer is to visualize the scene and convey it to the penciller and turn the penciller loose.

As much as I love creating entertaining visuals, I love toying with the pace of a movie and trying to perfect that. It's imperative to the impact: faster cuts, cuts at the right moments that meld with the tenor of a scene. Creating and maintaining that feeling.

But it is true that sometimes an enveloping darkness aids one to clearer vision; as in a panorama building, for example, where the obscurity about the entrance prepares one better for the climax, and gives the scene depicted a more real and vivid appearance.

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

Actors always feel more comfortable when there's an actor directing, in terms of vocabulary and breaking down a scene.

I feel like I'm on crutches when I have to go by the dialogue sheet. I want the artiste's natural, spontaneous reaction and vocabulary so that it adds a genuine flavor to the scene without which the sequence becomes entirely cinematic.

So much of what I do... is coming up with new characters and trying to invent voices for them, and to have people fully fleshed out in my head and to know who can say what in the scene and who these characters are... I love it.

I think L.A. has one of the most innovative and forward-thinking jazz scenes in the world. New York definitely has the volume - there's more music happening in New York than anywhere else. But to me, L.A. - it's kind of a gift and a curse.