Quotes About Scene

I've had some painful experiences in my life, but I feel like I'm trivializing them by using them for a scene in a movie. I don't want to do that. It just makes me feel kind of dirty for having done that.

I feel that the thing that probably aided me the most in that scene with the dog was the utilization and using an actual recreation, affective memory, if you want to call it, of pain.

You always have to have a bit of fun if somebody is dead in a scene. That's a red rag to a bull for an actor. You do a little poking. You do things to annoy the actor. It's your job. You have to utilize the opportunity. You have to get through the day.

A director must push his actors to the utmost limit to get everything possible out of each scene - without being corny or sentimental or going overboard.

There's a rhythm and a cadence in a scene, and when an actor understands without any real direction from you, then that's a very valuable gift. And some people get it, and some people don't.

I don't know how this lively and dumb scene would have ended , or how long I might have remained immoveable in this ridiculous and delightful situation , had we not been interrupted.

I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.

As an actor, I feel that my work makes me very vulnerable. I have to be emotionally available to serve the scene I'm doing. You never quite know where your emotions will take you.

The title always comes last. What I really work hard on is the beginning. Where do you begin? In what tone do you begin? I almost have to have a scene in my mind.

[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.

Plot and scene are still the hardest things for me, though I think they're the building blocks of what makes a story work.

When I was filming the death scene [in Inglourious Basterds], and I'm killing somebody, I had to work myself up.

When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.

In the middle of Beaches there's a scene from the "Laverne & Shirley" TV show so they see some history of my work in each film.

Using the energy in a scene can really cut the fat off of something and streamline it. It can make it work for you and activate it for you in a way.

My first scene was a streaking scene, I had to streak at a footy game, that's how I get introduced.

We value the independent wrestling scene, and it's our goal to strengthen it.

I'm not a theoretician about playwriting, but I have a strong sense that plays have to be pitched - the scene, the line, the word - at the exact point where the audience has just the right amount of information. It's like Occam's razor.

Having written both comedy and drama, comedy's harder because the fear of failure's so much stronger. When you write a scene and you see it cut together, and it doesn't make you laugh, it hurts in a way that failed drama doesn't. Failed drama, it's all, 'That's not that compelling,' but failed comedy just lays there.

So nonetheless given the importance that was placed on sport in Australia, I wanted to be part of that scene, particularly since I had felt very strongly in my early schooling being marginalised even in the Catholic school.

The logic of collective security is flawless, provided it can be made to work under the conditions prevailing on the international scene... The odds, however, are strongly against such a possibility.

A scene has to have a rhythm of its own, a structure of its own.

It's such a delicate business, the structure of film, isn't it? What happens if a scene is not there but two minutes later? It's an eternal, never-ending search, actually, which is very exciting. It really is.

Every book has got its challenges. You run into a plot point that you can't figure out, or a scene that you struggle to write and have to write 50 times.