Quotes About Scene

I love when people improvise as long as they're great improvisers, what I mean by that is people can improvise within their characters and within the scene.

I love not feeling this hydraulic pressure that you have to create this comic moment within every scene. You can just play it as it is.

I love working with the actors eye-to-eye. I think something gets lost in translation, not only through a monitor, but when you leave the area where the actual scene is taking place.

I know that I'm a decent actor, but it's another thing to be in a scene with Jon Hamm and hold your own.

The shields were enormous. In 'Julius Caesar,' I died early in the scene and used to fall asleep under the shield until I was woken up by applause.

What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.

I can work a lot faster when I'm writing a screenplay than when I'm writing a play because, if I'm having a problem with a scene or something, I can just be writing it in a way where there's no dialogue, or find a way to make sound do the work that I want to do or a close-up do the work that I need to do.

I can remember on the first day on 'Chatroom,' it was just one scene for the whole day, which was a really nice luxury to have.

There's just something about telling another giant in the New York baseball scene that you thought he was Derek Jeter.

The scene then as now was centered in New York. For the most part, I've kept a bit apart from that attractive and seductive city. I've done it by living in the country within commuting distance.

It's not that we go around the set thinking, 'Oh, today we are going to kiss, so let's enjoy'. It's not that. It's acting. If it's important for the script, so be it.

One of my favorite stories is my first kissing scene with Linda Gray.

Whenever I read a script, I don't differentiate between a kissing scene or an emotional scene.

Everybody does their homework, and we all come together and just knock it out. There are adjustments to make, and if you have actors who are collaborators and who really know how to listen and be in the scene together, than it works out beautifully.

Before I started Brainfeeder, there were rumblings in our own circle about creating a label for us all. Then I started to see all these other ones from Europe try to capitalise on the scene. It didn't make sense to me that there were all these people who were trying to build on something that was in our backyard.

And that's just what this feels like, a bad scene from a third-rate soap. I half expect to hear the ominous, minor chord before we cut away to a detergent commercial.

Sadie the gamer found this scene sexist and strange.

I put my fingers around the unmarked ring of the spyglass and twisted. The scene became clear. Oh no! A hairy brown spider clung to a vine! I couldn't go there! I'd go to the desert to find a dragon. I began to reset the spyglass, but then I stopped myself. A spider was worse than a dragon? No. My first monsters would be spiders, then.

By the mid-1980s the health craze had swept the country, and the cocktail scene was all but dead.

This was the first time in my life that I had witnessed the awful scene of a battle, when man was engaged to destroy his fellow-man,

The only way to write honestly about the scene is to be part of it. If there is one quick truism about psychedelic drugs, it is that anyone who tries to write about them without first-expierience is a fool and a fraud.

At one point in the wake of the Hell's Angels uproar a reporter for the New York Herald Tribune‡ did a long article on the motorcycle scene and decided in the course of his research that "there is something about the sight of a passing motorcyclist that tempts many automobile drivers to commit murder.

The whole scene, the empty beach, the green and blue sea, the naked girl with the strands of fair hair, reminded Bond of something. He searched his mind. Yes, she was Botticelli's Venus, seen from behind.

All the ships flew huge American battle flags from mastheads," he said. "Ships knifing through huge breaking blue swells, boiling wakes from high-speed ships, flags flying. . . . It was a scene I will never forget.