Quotes About Scene

In fact, the majlis was an intensely feudal scene, with respectful subjects waiting humbly for a few seconds' opportunity to whisper in their prince's ear.

For her part, Kelly expressed warm feelings about Cooper as well. "He's the one who taught me to relax during a scene and let the camera do some of the work," she would recall. "On the stage you have to emote not only for the front rows, but for the balcony too, and I'm afraid I overdid it. He taught me the camera is always in the front row, and how to take it easy.

It is a delightful pastime to sit in the pleasant sunshine of autumn, and gazing from this little spot of free earth over such a landscape, let the imagination luxuriate amid the thrilling associations of the scene!

The arches of the woods, even at high noon, cast their sombre shadows on the spot, which the brilliant rays of the sun that struggled through the leaves contributed to mellow, and if such an expression can be used, to illuminate. It was probably from a similar scene that the mind of man first got its idea of the effects of gothic tracery and churchly hues, this temple of nature producing some such effect, so far as light and shadow were concerned, as the well-known offspring of human invention.

When I met Elvis, we didn't really have a conversation. I was introduced by my uncle, and he sort of grunted my way. What stays with me is the whole scene. I had never seen a real mob scene before. I was really young and impressionable. Elvis really did look - he looked sort of not real, as if he were glowing.

I was told that, when 'Betrayal' was being produced by one of the provincial companies in England, the two actors playing those roles actually went into a pub one day and played that scene as if it were really happening to them. The people around them became very uncomfortable.

When you relate to a person and are being friendly, it's easy to do a scene without looking uncomfortable.

When I write an email where I outlined a whole scene, it just came out of my unconscious, it comes from a deeper place. The same thing happens when the actors go, take after take, and just get lost in it. When you're in a house, you don't think about being in the house; you're just there.

When I first got involved in the underground metal scene in '82, '83, there were only about five or six major Death or Black Metal bands around. There were so many other bands that were inspirational, that really helped.

There's always going to be a fight between mainstream and underground because the mainstream is a very small bubble, and the underground scene is a very small bubble, and they both see themselves as secret societies. But I never saw it that way. I always thought music was open to all things.

We're not really an underground band anymore, and we're not a mainstream band, either.

I did the underground scene growing up. I lived in Albany, New York so I'd go see Stigmata, Hatebreed, Murphy's Law so I was in that whole scene.

When I came up in a band - not just in a band, but a kind of underground DIY community - there was such a clear cut distinction between what pop was and what not pop was in very simplistic terms.

We been bubblin' in the Los Angeles underground for years.

I was always heavily interested in underground musical movements, the post-dubstep scene; Mount Kimbie were coming out, and bands like that.

I think I do have a way of predicting - not always accurately - what is a nerve-wracking day for actors, what may be a difficult scene or a difficult moment, how small - and it may be down to one line - a thing maybe that is upsetting or undermining a performance.

Because I actually find the next take after they've controlled it a little bit and repressed the laughter is actually a really interesting take, because that's still going on underneath the surface. That struggle to maintain composure becomes part of the joy of the scene.

Sometimes I find it tiresome to write actions and describe the scene in a very intricate way so that every crew member understands where we are going - that I can find a little bit long and tiresome. But dialogue is just all my life. There's no way I could ever be challenged, not challenged, but I'm always so happy to write dialogue.

Basic Instinct 2' is an uneasy experience because, although it is hyper-reflexive to the point where it is hard to think of one character, one scene, one plot twist that isn't a reference or an echo, there is nothing knowing about it. No matter how absurd the film gets, it refuses to raise its eyebrows.

As an actor, I've been taught to just stay with your scene partner, and whatever they do, let it affect you, be spontaneous.

I think in general the American scene is much more focused on bouldering, where in Europe they're more focused on sport climbing.

You never create a scene around the Easter egg. The Easter egg is always just, 'Oh, there's an opportunity for something that the fans will enjoy if they can spot it.'

The actor already comes with emotions to the scene: fear, the fear of being in front of the camera. It is this fear that spurs the emotion of the scene. I too am afraid; I don't know exactly what I am searching for. On the set, we are all participating in this fear together.

Performing on stage is my first love - it's why I wanted to be an actor in the first place - and 'Arcadia' is the highlight of my career so far. I love the intimacy of a live theatre audience - you can really squeeze every last drop out of each scene.