Quotes About Scene

Ah, reality TV: where opportunists delight in exposing opportunism! It's kind of like the indie music scene.

I like working with actresses, and I like women a lot, not for obvious reasons, but just in that that there's so much about what they bring to the scene that keeps it so interesting. Their instincts are so different, and they never explain them to you.

I was constantly getting in trouble, constantly trying to break the rules. Even when I was coming up in the drag scene, I was known as sort of the rule breaker, the rebel, the bad girl.

Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.

Mark Ronson was a dear friend through family and through growing up in New York, being in that scene, and Mark came to a show and really liked it and asked us to join his record label Allido records, or 'all I do' records, and that was sort of a development deal.

When Blur first started and we were playing Manchester the Hacienda was the place to go. That was where a lot of exciting stuff was happening and London was pretty dead.

I do admit to being challenging, but it's always for the work, it's never personal. I will walk out on a scene if it's all lit and ready to go but it's not happening.

My first scene ever on camera was a dinner scene and I ate all the food. They yelled cut and the actor across from me was like, 'You know you're going to have to eat the same thing every single time.' I learned the hard way.

A lot of directors are great and they are fine but you know I think that Harry really takes a special point to really engage the actors and really make it feel like a safe place for them to explore whatever it is they want to explore in whatever scene with their character.

The Heads were the only band on that scene that had a groove.

I don't cover my scenes. We approach it visually. Sometimes we go out of our way to do awkward blocking so that we can tell whatever the emotional heartbeat is of that scene in the most interesting way possible.

It's what you bring to the table for downloads and how many pay-per-views you can get. For an up and coming heavyweight, it's difficult to break into that scene. You have to take a pay cut.

I really loved making 'Love, Nina.' I was in every scene, which was amazing. Bloody hell, what a job!

Playing heroine was never an aspiration. If I had been particular about it, I would have faded out of the scene long ago.

The director will be like, 'Hey, great take. Do you want to see the playback?' And I'm like, 'Definitely not.'

The scene had interested me. It was so different from the ordinary demeanour of tramps--from the abject worm-like gratitude with which they normally accept charity. The explanation, of course, was that we outnumbered the congregation and so were not afraid of them. A man receiving charity practically always hates his benefactor--it is a fixed characteristic of human nature; and, when he has fifty or a hundred others to back him, he will show it.

Perhaps Charis did not realize that when one had passed through a time of terrible anxiety relief did not immediately restore the tone of one's mind. To be sure, she herself had not expected that after the first raptures she would find herself subject to fits of dejection, and much inclined to be crotchety; but still Charis should have known better than to have enacted a tragical scene within an hour of her arrival.

And although she did, when shown the impropriety of her behaviour, say she was sorry to have made a scene in public, it was evident that she was not in the least penitent.

It's a lot of pressure. Some of the cast wants a StairMaster on the set so you can work out like crazy before your naked scene.

My first ever sex scene in a movie was in 'Superbad.' Because I was 17, for legal reasons my mother had to be on the set. It was real awkward, but it worked out OK because when I watched the movie with her, the sex scene wasn't awkward because she'd been right there when it happened.

I've always wanted to be a director; it's just how my mind has always worked. If I hear music, I see music videos and all the shots and setups to edit it all together. If I interact with a person, I'm seeing a whole scene come to life.

I want to give the audience a hint of a scene. No more than that. Give them too much and they won't contribute anything themselves. Give them just a suggestion and you get them working with you. That's what gives the theater meaning: when it becomes a social act.

In constructing the plot and working it out with the proper diction, the poet should place the scene, as far as possible, before his eyes. In this way, seeing everything with the utmost vividness, as if he were a spectator of the action, he will discover what is in keeping with it, and be most unlikely to overlook inconsistencies.

That's what sets apart one actor from another, and that you can't teach. You can't give someone that. When you're working, putting a character together, or in a scene, that's where things will happen that you have to have the intuition to notice them, and to register them.