Quotes About Scene

The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.

You can't steal every scene. There are scenes in which you need to sit back and do a lot less, verbally, physically.

I've been around where I knew other actors were going to steal the scene, and I don't compete with them.

Actors will, in their mind, want to 'steal the scene,' and the problem is that means the scene didn't work in the first place.

My decision to open my first restaurant in Nashville was born from my heart. From the moment I stepped foot in Music City, I have had a love affair with the people and burgeoning culinary scene.

a cozy social atmosphere above all else. . . . For those seeking a refuge from the world, the cup of coffee they bought was really just the price of admission to partake of the coffeehouse scene."9 Starbucks is selling us hospitality.

If a brutal scene is shown for no reason except to shock, then it is bad.

In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.

Nobody wants to see the old person at the club.

Some directors don't say much. Michael Mann, for example. I remember on 'The Insider' he never had much to say. He would do a scene, just kind of nod, and then set it up to do it again. And you might do a scene 10 or 12 times or more, the same little 31-second bit. And you could tell he wasn't satisfied, but he wouldn't say much.

Normally, when you do a movie, you have those mundane days when it's like, 'Today is the scene where I get coffee.'

Once during a taping there was an actor who kept blowing his lines. It happened again and again. Finally Norman Fell came out-he wasn't even in that scene. But Norman came out and you know what he did? He killed the guy with a hammer.

The drag scene in Miami has always been top notch to me.

You need to understand the meaning of the dialogue to be able to convey it right. You need to know it to understand the nuances of the scene.

Saying good-bye on 'Nurse Jackie' was a really big deal, so I'm sure I was keeping myself guarded from ever having to feel anything like that again on another job, especially a death scene.

I know that there's a cultural expectation that women be nurturing, delicate flowers. And I am. So delicate. But that doesn't mean I can't write a good, gory murder scene.

The scene that has raised the most objections in 'The Interview' is at the very end, when Kim's head dissolves into flames. To me, it feels gratuitous.

I think of it as the lasagna approach to writing because I'm always adding layers. I'll sometimes do it layer by layer, with dialogue, attribution, action, objects in the scene, setting... It can be sometimes that delineated.

It is on this bleak scene that a phenomenon has appeared: the American existentialist—the hipster.

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.

It is only to the sentimentalist over some tame midland prospect that man appears vile. In Sirene he holds his own with the sublime eccentricity of the natural scene. In Sirene he lives.

It was a regular family scene. All we had to do was clean up a few murders and a matter of international dope smuggling, then we could move next door to Donna Reed.

The entry of a hero on the public scene goes unnoticed," the great A. J. Liebling wrote in The Earl of Louisiana, "but his rentrée always has an eager press.

Avoid ending a scene with your character going to bed. Your reader will shut off the light and go to sleep, too.