Top 510 Scenes Quotes

‘Power’ is a beast to produce. Everyone behind the scenes brings a thoughtfulness and dauntless work ethic day in and day out.

We’ve rewritten entire scenes and had them animated twelve hours before the show goes on the air. It’s not fun.

The parts of a film should be in proportion to the whole, and a long film pasted together out of quick little scenes makes me dizzy.

Both my assistant and my wife tell me that during battle scenes, when a character is making a ‘guwaa’ sort of face, my face also ends up going ‘guwaa.’ So afterwards, my whole face is tired. I guess it’s because I’m the kind of guy who gets caught up in his own work.

Sight gags had to be planned; they required timing and mechanics. Occasionally, spontaneity would arise in the shooting of the scenes.

Concepts, like individuals, have their histories and are just as incapable of withstanding the ravages of time as are individuals. But in and through all this they retain a kind of homesickness for the scenes of their childhood.

It’s possible that I’ve matured as a writer, and I hope I’ve matured emotionally, but I always find myself revisiting these adolescent scenes.

‘Oppam’ is more of a director’s movie, especially because I play a visually-challenged hero in it. The character doesn’t have a perspective, and so cameras aren’t placed like how they are usually done in other movies. The angles and the way the scenes are captured are different.

The best thing about being a film producer is I get to spend 99 per cent of my time behind the scenes.

I like doing fight scenes. I always have, and I insist on doing as much of that action as they’ll let me do. I think that’s easy for me.

Some of the most fascinating scenes in ‘Unforgiven,’ for me, is that scene with Gene Hackman where he’s talking about the Duke of Death that Richard Harris played, and he’s basically demolishing this myth of this man very unwesternly – not what you expect in a western.

Some people manage their writing by saying, ‘I need to get 2,000 words written today,’ others by saying, ‘I will write for X hours.’ Not me. I start with a plan for the book, break it down into scenes, and I know what scenes need to get written each day. If the scene takes more words than I thought, so be it.

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.

To reconstruct stories and scenes, nonfiction writers must conduct vigorous and responsible research. In fact, narrative requires more research than traditional reportage, for writers cannot simply tell what they learn and know; rather, they must show it.

The thing about ‘On the Doll,’ I was doing ‘Nip/Tuck’ at the time, and I was doing only 5 or 6 scenes an episode. So I had some free time, and I wanted to do something completely different than what I’ve ever done before.

During ‘Race 2,’ I had to lean down completely because there was a lot of action scenes in it.

It was hard doing scenes with Bobby Cannavale because I would break up laughing because he’s so funny.

As for me, it is interesting to play a role that is not human; it is nice to be all powerful without fancy action scenes. But, it is not funny to play God, even on film. You don’t speak much and just smile beatifically.

Food scenes in movies are traditionally nightmares to shoot – you just can’t fake eating, and you usually have to repeat it a lot of times to get the angles you need. It’s actually quite a lot to ask of actors, and there’s really nowhere to hide.

I sent some scenes from ‘Life on Mars’… and then I didn’t hear anything for about 48 hours, and I was sure that I wouldn’t get this. Then I got a phone call saying, ‘They want you to take the role of Jim Shannon on ‘Terra Nova,’ and would I be interested!

I wasn’t sure how my dad would react. There was an agent sitting behind them and he told me he was embarrassed to watch the scenes. My parents have always been very open. They trust my decisions.

I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.

I’ve gotten to work with people like Kristin Chenoweth and Chita Rivera… Seeing their process is so interesting. Seeing that these people aren’t immortal – that they go through the same motions as we do and ask for feedback and break down scenes… They have to work, too, and that’s really exciting to see.

The scenes on this field would have cured anybody of war.

I’ve gone through my adolescence on TV so it’s pretty cringey when I look back on some pictures and scenes, but that’s part and parcel of being a child actor and growing up.

After doing the first couple scenes and I got used to being in front of a few people it got easier and easier. In Chasing Amy, I wasn’t nervous at all. And in Dogma, the same.

I don’t like when you necessarily know that this is the end of the movie. I like when a movie ends abruptly. You go through this, and some of the scenes are uncomfortable, and some are funny – and then suddenly it’s over.

On ‘Rhoda,’ they wanted my husband, Joe, to wear a pajama top when we were doing love scenes. They finally let him take it off as long as the audience saw him get into bed wearing pajama bottoms so they didn’t think he was completely naked underneath.

We do a lot of scenes like say proposing a girl, but you know it is done technically – you don’t feel anything. But sometimes I feel bad, maybe when my parents see me play this character and shouting at a girl, they might feel weird.

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.

Film acting, if you don’t play the lead, you come, and you do your scenes in a few days, and you act with a couple of colleagues. All the rest of the actors you never see, and you don’t even meet many of them. And you don’t know what will happen with what you’ve done. Maybe it will be in the film, maybe it will not.

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.

During the course of the seven years I played scenes with an oil slick, I played a scene with a grain of rice. Sometimes with indescribable creatures. I remember having a conversation with something which was simply a smell, that’s all. It was part of our job.

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.

You just want to get it right so badly, so it’s stressful when it comes to those vulnerable, dramatic scenes.

I don’t cover my scenes. We approach it visually. Sometimes we go out of our way to do awkward blocking so that we can tell whatever the emotional heartbeat is of that scene in the most interesting way possible.

Egyptians are quite incredible people. They have everything: the culture, the music, the scenes. So much of Arab music and art started there.

I love directing scenes that I’m not in because suddenly I really feel like a filmmaker which is a different thing.

I don’t watch daily soap. I’ve never seen my shows as well except for the scenes in which I really want to improve something or correct something.

For ‘Spartacus,’ we’ve committed 100 percent of our production time to creating great scenes. So all the training I do is on my own time. And that’s pretty limited.

In ‘Queer as Folk,’ we had three or four sex scenes in every episode, so I got used to doing that very early on. Those kinds of scenes can be challenging. They take a bit of time, and everyone’s a bit nervous.

It was very amusing to do ‘GI Joe: Retaliation’ scenes with Bruce Willis, who spends months rewriting his dialogue and then turns up and doesn’t say it. Part of the time, he doesn’t say anything, but mumbles and mutters.

Stepping back into theatre, a childhood dream, I always felt like I would be onstage. I hadn’t imagined myself in a composer role… I find it so satisfying to be behind the scenes and writing the music and watching it elevated and characterized by different voices than my own. It’s so exciting.

The parallels between a stage and a book are compelling. You, like all authors, create ‘characters’ in a ‘setting’ who speak ‘dialogue’ encased in ‘scenes.’ Most importantly, you – like the playwright – have an ‘audience.’

Harlem exists in retrospect, in the memory of grandparents or elderly cousins, those ‘old-timers’ ever ready with their geysers of remembered scenes. The legends of ‘Black Mecca’ are preserved in the glossy musicals of Times Square and in texts of virtually every kind.

I never thought I wanted to direct. I love the control of it. I love to dream of scenes.

I need solid roles that provide scope for performance, even if it is just a few scenes.

For about seven years. I really like it there. There are a lot of great musicians. The scene is very open. A lot of stuff going on. People’s ears are really open, they are not closed. A lot of scenes here, people just get tunnel vision and are into one thing.