Quotes About Scene

For 'City of Ghosts,' I really didn't speak any Arabic. It obviously made it more difficult, but I also found it to be an advantage while shooting. It allowed me to focus on the emotion of the scene as opposed to just chasing dialogue.

I work very hard on motivating everything I do as an actor. Explosive moments have to be completely motivated; whether they're explosive comedy or explosive horror, they have to come organically out of a scene and an interaction with another actor.

Any project that you shoot, it's never going to be completely finished the way that... I don't think I've ever worked on anything where every scene has been kept in the order that it was originally in, or that it hasn't been cut down in some way.

It's no good in a scene to have one actor lie down because the scene says it's the other actor's moment. Each actor has to believe that with extra will, the outcome of a scene can be different. An actor can win the scene if he exerts the most powerful will in that moment.

I never do a full outline, and if I did, I would not feel bound to it, because the view from inside a scene can be different from the view outside it. But neither do I just start writing and see what happens; I am far more disciplined than that.

Don't listen to some outside interpretation - do the scene as it makes sense to you and the other actor.

I never felt like I was in the grime scene. I was the outsider. So when I veered away from it, I didn't feel like I was leaving the circle - I felt like I was never in it.

We never claimed to be a Christian band; we just were outspoken about our faith. It's not like we knew there was a scene.

Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn't work with the overall narrative drive of the story.

I do get very involved in making a scene work without giving too much thought about how it affects the overall, which I think is hard to know in any case.

I've had a lot of hurdles to overcome in my musical journey, but since coming onto the scene with 5SOS, we've really had to fight to be respected as genuine artists.

I've learned a lot about stage-managing for illustration. Sometimes you have to delete characters from a scene just to keep from overcrowding the image. I've also learned to making big-scale design decisions early.

Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.

I do not want to admit to the world that I can be a bad person. It is just that I don't want anyone to have false expectations. Moviemaking is a harsh, volatile business, and unless you can be ruthless, too, there's a good chance that you are going to disappear off the scene pretty quickly.

From the doorway I looked back at the street. The car parked outside was

The opening scene is easy. Exterior: Greenwich Village. The beginning of a new decade. A gust of wind, a lucky taxi, a question. Will you come? And then the rest will unfold in mysterious and surprising ways. But there will be no happy ending, because there will be no ending at all. The movie will last forever.

I don't really have those kinds of intentions when I write a scene. I try to follow the internal logic of the fiction, rather than make an argument or an assertion.

There's art on the show that's really bad - these cliché Abstract Expressionist gestural things. It's almost like extensions of my performance, because in the scene I'm really mad.

I was fortunate to be connected with bands who later became pioneers for certain genres of music scenes. And my art went along with them for that ride and became associated with it.

I was buying old records a lot in my early teenage years and I was mostly drawn toward the artwork even more than the band itself. I loved the way the art set the scene for the music.

You never really know what the director has got in his mind as far as the scene visually and art direction wise.

Directors are always changing things at the last minute. Actors will do a scene, and the director will say, 'Okay, that was perfect, but this time, Bob, instead of saying "What's for dinner?" you say, "Wait a minute! Benzene is actually a hydrocarbon!" And say it with a Norwegian accent. Also, we think maybe your character should have no arms.

ast year's Best-Sex-Scene-in-a-film winner Vince Voyeur's real name turns out to be John LaForme. Rhetorical Q.: How, if one's real name was John LaForme, could that person possibly feel the need for a nom de guerre?

I am saying in order to masturbate successfully, the scene required rational logic by which copulation with this exercising woman is plausible in the public of the State Exercise Facility. I was responsible to this logic.