Scenes Quotations

Those scenes on the beach on 'Lost' were so much fun. When it was a whole group scene, you'd just pop in with a line here and a line there, and there was a little activity, and you essentially spend the day with your friends on the beach. What an amazing working environment.

When we are in pre-production, this is the best job in the world. Working 10 to 7, sitting around and brainstorming with the other writers, making things funnier and writing and rewriting scenes - that's as fun as it gets.

I would have to say honestly I was very pleased to be in a film whether it was good or bad with De Niro, Norton and Brando even if I don't have any scenes with them, I thought it was pretty good company to keep.

I like being the lead but I like being in an ensemble. There are different challenges and dilemmas with both. If you're carrying a film, there's a certain weight, but there are a lot of scenes to explore the character. When you're in an ensemble, you have to convey the entire character in a limited number of scenes.

Fight scenes are very physical for me. Sometimes I require my own body to move through them before I can tell where a character's likely to feel it.

I had a lot of songs and words and scenes stuck inside of me. So Jacknife encouraged me to bring them all out. So, in essence, 'You and Others' is my diary.

I'm a big fan of Clint Eastwood, but the Westerns I draw from most directly come from an earlier period in Hollywood. I actually look back at movies like 'Rio Bravo' and others I've liked over the years, and I capture pictures from the movies and use them as a reference for the scenes I create.

That's what I love about those old movies - the music is like a constant companion. Even in scenes that aren't particularly dramatic, like a woman checking her watch, you hear the music as a comment on that action.

Mel Gibson was lovely. He was on the edge of both scenes that I had with Danny Glover.

The funny thing about war is that people feel you need to be morally outraged. I feel morally outraged about it, and I've been doing it for long enough to feel morally outraged, because I have been in massacre scenes in West Africa, and I've been doing this for a long time now.

OK, I love 'The King and I.' I'm a huge Yul Brynner fan. I love the scene where they danced after the big banquet; that's one of my favorite scenes in a movie of all time. It's romantic and sweet and wonderful.

I actually didn't really go to college. I enrolled and never showed up. Being on a college campus where we shot some of the scenes in 'The Goodwin Games'... it did make me wish that was an experience that I had.

You want to go into scenes thinking not that you're the good guy or the bad guy, but that you've got a job to do. And I'm not talking about as an actor; I'm talking about as the character.

I cried most days working on the first draft. The last scenes were the hardest. I had a feeling where I wanted to end - the exact note - but I couldn't see how to get there. Sarah Murphy, my editor, asked the right questions to help me. I think of 'The Bear' as a hopeful book.

I've been campaigning like anything for restoring these changes. For 27 years. I wrote a book about it, well, a portion of the book was devoted to these scenes and why they should have been in the movie.

I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.

When I was shooting 'The Dark Knight,' I always felt like I was shooting an intimate drama for some reason. The scenes were all intimate, and they were always between a few individuals.

It's just a very different process from maybe working one or two days a week doing one or two scenes a day versus sustaining a performance over two hours or so eight times a week.

The way I navigate scenes is through what I perceive to be the emotional truth of the character: what he wants from moment to moment.

In 'Uncharted,' we do the scenes the same way you would do a film or television show. The motion capture - the performance-capture process - is what makes such a difference for this franchise. So I don't approach it any differently. The other actors and I go in and rehearse scenes together, and then we go in the next day and perform.

For me, playing music while I write is important. Several of the romantic scenes in 'Paris' were written with Debussy's 'String Quartet,' his 'L'Apres-midi d'une Faune,' or Canteloube's 'Songs of the Auvergne' playing in the background.

On 'Angel' I got to work a lot with Mike Massa, who was David Boreanaz' stunt double, and Mike would let me do most of my stuff by myself. I did almost all my fight scenes by myself.

It was actually my older brother who wanted to start acting. He would point at the TV as a kid and tell my mom he wanted to do it, and he would act his favorite scenes from 'Home Alone.'

I am not very good at sticking to outlines, and I double back all the time to revisit scenes and change things.

Soap operas are like boot camps for film actors, so I really learned a lot. It was a masterclass in working for camera. I made myself watch myself every day. I would sort of try and be objective about it and critique myself a little. There's a lot more skill set than people realize in soap operas. They shoot, like, 35 scenes a day.

I was born in San Francisco. I was raised in Oakland, so I'm, like, super Bay Area born, and, you know, it's just really multicultural up there, and there's a lot of subcultures just from, like, anything, like from rockabilly to, like, crazy punk scenes to, you know, a huge rap scene, and there's just all kinds of things you can do out there.

I think I went more toward writing because that's my talent. I don't think I was a great performer... And I like being behind the scenes a little bit.

The nude scenes were a little eerie and I felt a bit odd. Yeah, when the camera scanned up my body, I said to my friend, 'Now, that's a close-up.' I mean, you see every inch of my body. But I'm okay with it and so it was cool.

In 'Dark Skye,' I rewrote every one of the Pandemonia scenes over and over before I was happy with them - hundreds of pages are now sitting in a folder called 'Cuttings,' never to be read. Ouch!

Filming scenes like that are always odd but I feel comfortable with Josh and care about him a great deal, so it could be much worse. Scenes like that are just part of the job.

I started my Twitter account for selfish reasons: I wanted to have a place to post updates on my book signing tour and stuff like that. I never realized that I'd have so much fun tweeting. It's become the deleted scenes for my DVD of columns and podcasts.

My mom was a model, so she's been really good about giving me tips on how to navigate behind the scenes - like the importance of being nice to everyone on set and remembering people's names, to how to be a positive part of the photo shoot and stuff like that.

I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.

If you cannot reconcile the difference between the elite that stay behind the scene and the right of the people, that's going to be forever chaos. It's time to compromise, to allow more democracy. Those who are stay behind the scenes must hand off and observe the law.

In the happy scenes there were really fun times. Sean would say really funny stuff because he likes to improv. I would want to laugh, but you are not allowed to do that during the take.

Directing is something I always wanted to do. I started when I was 13 directing scenes in high school and then plays in college with my theatre company.

I had a scene where the chair was meant to slide off the table, but do you think it would slide off? No. We were running out of time and we had to get these scenes done urgently.

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

I like to write scenes in the middle of the night. We could change every word of 'Family Ties' between Monday and Friday.

I stay very much undercover and behind the scenes - most places I go, people don't know how important I am. But I will admit that my favorite piece of clothing to wear out is an old T-shirt from a Boston tour that does have a Boston logo. But that doesn't change anything.

I think all movie love scenes are hard because you can't truly be as intimate as you would be with anyone you're truly with, and everyone's watching you.

It was really an experience, being my first time directing a movie. The scenes that I was in, Brooke really directed me all the time. And the scenes that both of us were in, Brooke directed those. Come to think of it, Brooke directed most of the scenes.

If my characters travel somewhere, I generally write about a place I know to give the scenes more authenticity.

We talked a lot about The Best Intentions and how we could shoot certain scenes in different ways with slightly different bits of dialogue and information, so that later on, we could cut the piece more easily and it would still feel complete, even though it was shorter.

No matter how much I plan the overall arc of the character, you get there day one on the film and you shooting certain scenes first, and it goes completely different to anything you ever thought of, and then it's done.

As a newspaper reporter, I covered and was around a fair number of crime scenes involving juvenile delinquents, and few things bothered me more than listening to their parents. Crying, ranting, proclaiming how great their children were despite being kicked out of school or previous run-ins with the law.

The degree that these scenes went to... there was a couple of days I was upset... I'd have to hurry back to the girls in the makeup trailer and have a bit of a cry because it messes with your head.

I think when you're just counting on your voice, you actually need double the energy. I find myself acting out the scenes and being very physical while I'm recording because I think you can tell when someone is just sitting on a stool.

We did a lot of fight scenes in 'Hitman: Agent 47,' so you have to learn repetitious movements to music; otherwise, it's amazingly boring. Michael Jackson was our savior.

These scenes deal with what happened before Hannibal Lecter was captured for the first time.

The point of my job is to entertain and make it look easy, so I guess it's the parts you don't often see which make me feel proud. All the behind the scenes work, the fears and insecurities I have to face and overcome to improve myself as a person and performer, all of the people who believe in me and encourage me.

'Cinderella' the cartoon scared me. I watched the bits with the mice, and the scenes with the stepsisters ripping her dress apart scared me. Cinderella was never even my favorite character in 'Into the Woods.'

I don't know which other actor has done as many hot scenes as I have. I pretty much have the monopoly in the bed scene market in Bollywood.

There's something really fun about being scared, and I guess that was at least part of why I wanted to film certain scenes from my new book, 'Skeleton Creek.'

All writers, in all viewpoints, must choose which information and scenes will be presented, and in which order. In that sense, the author is always represented as a point of view in a work of fiction. His hand can always be detected by the discerning.

It's rare that scenes last more than 2 or 3 minutes, so sound helps segue from one scene to another.

I only have three scenes and each is a turn and she gets progressively drunker. It's all terribly funny and its main challenge is that it's so far away from what I usually do.

Too many actors try to get too much out of scenes that they ought to be leaving alone, just doing them quickly and getting the hell out.

Working with Jon Hamm was super-fun because he's a brilliant actor and he's very kind. I would hang around sets for scenes that I wasn't even in because I wanted to watch how he worked.

Almost every scene, I re-think as I'm about to start drawing it, and at least half of the time I'm changing dialogue or whatever, or adding scenes or different things.

For me, when I start a novel, I only have a general sense of what I am going to do - usually three or four big scenes or something to which I can really respond emotionally.

Something that I learned from 'Friday Night Lights,' sometimes if you have four or five scenes in an episode, it's not having less than having 10. It's what you do with those scenes.

I try to play serious scenes a little funny and the comedy a little serious.

I prefer to underplay scenes rather than, you know, be big and drive them. And sometimes you have to do that, but I like the more natural styles.

When we played Paris, the English punks would come over, and they got to know the French punks. There was some nice scenes in the back alleys.

Scenes change all the time. Scenes will change while you're shooting them, and you just have to roll with it 'cause that's what makes it funny. It's not being stuck in your character and how you're gonna do something, but to react to other people and to really have a real-life conversation.

I think my role, I want to have a presence both behind the scenes and in front of the camera. So I can't say on one particular thing, so I'll just name them all. I'll be the jack of all trades and hopefully decent at one of them.

I'm very easily distracted unless I have music on. Listening to music while I brainstorm makes me think of scenes that would fit the mood of the music I'm playing.

Long scenes of emotion are quite difficult - you've got to build up to them and make sure you're in the right emotional space.

There are certain things that they say you can't do, there are all these secret people behind the scenes who make things available for you to do. That's why you have so much crime and violence.

The comptroller of New York City ought to have all the characteristics of a major corporation's CFO - quiet rigor, obsessive care for detail, incorruptible judgment, an ability to work assiduously behind the scenes with the key stakeholders.

I generally edit quite heavily. In general, there aren't many scenes that are sitting where they sat in the script in the final form.

Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.

I enjoy scenes in films, which do not have the pressure of the story so much... and it flows. I've tried to go in that direction.

I'm trying to make perfect moments. And those generate meaning. If you go deep enough in how to make a moment, very quickly you come to how narrative works - to what we are as a species, how we've come up with telling stories in scenes and images.

On 'Whose Line,' we had six, seven, eight scenes per show, so everything was pretty quick. And there's a lot of games that we just got tired of, like 'Hats' and 'World's Worst' and 'Hoedown' and stuff.

I couldn't care less about who sees my bits... My friends asked how I could do scenes like that and not get excited, but it wasn't like that. My bits looked the size of a cashew nut!

I haven't seen the film yet because I just got in from London. In the scenes where the two characters are bantering with each other, it is like bobbing at the net in tennis.

I did a 20-minute selection of scenes from the play 'Spring Awakening' in college, well before the musical came around, so when the musical was becoming a hot thing, and I was reading interviews with Duncan Sheik about how he came to do the music, I think it's interesting.

Bruce Springsteen really got any creative person's dream career, and his good-heartedness and good-spiritedness are part of it: both because it made the people behind the scenes want to do their jobs that much better, but it also means that he connects with an audience in a way that holds them close.

Everybody struggles to come up with stuff that no one has ever seen before. It's a fine line between trying to get creative and doing something that's new, fresh and different - yet, for me, something that's based in reality that would actually work in these situations. These are the keys to great fight scenes and action sequences.

The way films establish the order of scenes is very artificial.

I have kissed in almost all the films except in 'Once Upon A Time In Mumbaai.' I'm not sure if my kissing on screen has anything to do with the success of a film, but producers make sure to put a kissing scene or two. They feel my kissing scenes are my lucky streak.

Every time one can write a self-deluded song, you are way ahead of the game, way ahead. Self-delusion is the basis of nearly all the great scenes in all the great plays, from 'Oedipus' to 'Hamlet.'

I've never lived in Eastern Europe, although both my wife and I have ancestors in Poland and Russia - but I can see the scenes I create.

I'm a fan of daytime drama; I totally get it. When we are doing scenes that are romantic or will get the audience riled up, I feel like I'm a fan in the room going, 'People are going to be so mad right now!'

Let us say in the pocket of one of my old coats I find a movie ticket from many years ago. Once I see the ticket, not only do I remember that I saw this movie, but also scenes from this movie, which I think I have entirely forgotten, come back to me. Objects have this power, and I like it.

I have seen what the days of tribulation can do to people. I have seen hunger stalk the streets of Europe. I have witnessed the appalling, emaciated shadows of human figures. I have seen women and children scavenge army garbage dumps for scraps of food. Those scenes and nameless faces cannot be erased from my memory.

Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It's great!

'The Levanter' features some of the strongest action scenes to be found in Ambler - who can, in some of his fiction, stay in one place for a whole novel.

I used to send away for eight-minute Super 8 movies of various Ray Harryhausen scenes advertised on the back of 'Famous Monsters of Filmland' magazine.

In the old days, you cut out a scene that might've been a really great scene, and no one was ever going to see it ever again. Now, with DVD, you can obviously... there's a lot of possibilities for scenes that are good scenes.

The point of this is to unite all the scenes and put them up against each other to see what happens. All the independent local bands performing are at the top of their game.

We've accepted the fact that the earnings growth for the quarter is around 20, 21 percent year-over-year for the S&P. But there's been this behind the scenes look or under the surface look at revenue. And we haven't got the best of forecasts for the second half of the year in many companies going forward. And if you don't have that pristine look -- where you come in this earnings season totally clean -- you've gotten battered. And I can't even name more than a handful of stocks that have come through.

When I was on 'The Golden Girls,' we'd have eight scenes per show. And when 'Seinfeld' came along, they went to, like, 30 scenes a show, which was revolutionary. 'Arrested Development' has probably got 60 scenes per show. It just keeps emerging as this more and more complex thing. I always try to keep it very simple at its heart.

What we're looking for behind the scenes are background checks for known felons and other things that are publicly available, to make sure these don't get in the hands of a criminal.

We believe we have been working hard. Behind the scenes people probably don't see a lot that goes on.

We are given 30 days to pack up three years of parts, tools and items. But we will at least have some control over our own space, rather than living from day to day, not knowing what efforts are being done behind the scenes to mess us up.

Work out really hard and be confident because bodies are beautiful, sensual and natural. I've also trained in Wushu, a form of martial arts - it's very beautiful and flowy, and it's predominantly used in fight scenes in movies, which is how it was introduced to me, and I just love it.

Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.