Words matter. These are the best Scene Quotes from famous people such as Brendan Rodgers, Neve Campbell, Gus Van Sant, Donna Shalala, Jeff Cooper, and they’re great for sharing with your friends.
There’s different types of strikers: Harry Kane is a wonderful finisher, Jamie Vardy has great pace and has come onto the scene exceptionally well and is playing consistently, and Wayne Rooney is a player I have admired during all of his career.
The first time I ever screamed at someone was in a scene, and I’d never screamed at someone in my life.
Usually when I read something, first of all I’m looking for the story and then when I reread it, I’m sort of checking every part of it to see if every scene is necessary.
Our young people are out on the streets looking for parties, a place to dance, looking for a scene. No institutions are providing them with alternatives, fun things to do that don’t necessarily have alcohol at the center.
We continue to be exasperated by the view, apparently gaining momentum in certain circles, that armed robbery is okay as long as nobody gets hurt! The proper solution to armed robbery is a dead robber, on the scene.
I don’t do the L.A. scene. I stay focused and very myopic. I don’t feel I need to prove myself or be in people’s faces, especially in this town.
Our first scene is sort of a reunion between the X-Men characters, which establishes everyone’s relationship to one another, sort of like a recap for all those who have forgotten since the last movie.
If you’ve been around as long as I have, watching the literary scene, then you know that who’s in and who’s out changes by the year. It’s really a very fluid situation that requires that the person who is having the good luck now isn’t having it a year or two from now.
I remember secretly going off and crying. All of a sudden I’m being blocked and have to be intimate in a scene, and I’m going, ‘I can’t even look people in the eye very well. How am I ever going to do this?’
Whether you are new to the scene or a long-time grillmaster, everyone has unique preferences when it comes to their cooking method of choice. From propane to charcoal to wood, people take their method of grilling quite seriously, and some argue quite passionately about the pros and cons of each method.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn’t start. Three times they said action and it still wouldn’t work. To this day, they still don’t know what was wrong.
Adaptability is crucial to working on Glee because every day is adapting to something. Because we’re doing a different genre of music, doing a different type of scene with a different scene partner, recording and dance rehearsals… no day is like another.
And it’s a question of how far we’re willing to go in order to let the ego shine, in order to let that beacon penetrate not only the local scene but the world.
I was grateful to have two weeks to shoot this one scene in Harry Potter. It’s a big, big scene, but they have to deliver. And they have high expectations.
In acting there’s two different things: You’re either pitching in a scene, or you’re catching.
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.
I was through as a manager. I did become involved late in the 1968 campaign at the national scene at the last minute. But I was through as a manager, and I’ve stayed through, incidentally.
‘Love’ has that Kubrick tonality to it, but this is not a Stanley Kubrick movie – there will never be another. At the same time, ‘Love’ has a modern feel. For example: In one scene, these astronauts go through a wormhole sequence, and you feel like you’re being slapped around inside your head by a sonic boom.
To return after long years of painful absence to some place which has been the scene of our former joys, and whence the force of circumstance, and not choice, has driven us, is oppressive to the heart.
Country seems to be finding a bigger audience. Certainly an audience out of the general country scene is finding me.
And in the middle of one of those scenes, I suddenly felt my heart just open: it was overwhelming, to the point where I got teary-eyed. Never would I have thought anything like that could happen in a love scene.
I’m not the kind of actor that can go completely cold into an emotional scene. I have to transport myself emotionally by whatever means possible, and that basically means you carry the situation with you all week, all episode or all day beforehand.
The vehicle-stunt world is so specialized. But when you spend so long in it as a stunt coordinator, you’re exposed to all the disciplines, so it’s always fun to combine the two ideas – a car chase and a fight scene – and make something more dynamic.
The view of the local scene through the eyes of a native participant in that scene is a different window.
I think there’s something really freeing about improv, that it’s a collective, creative, in-the-moment piece. That’s really exciting and really frustrating, because it’s there and gone. There’s an amazing interaction with the audience that happens because they are very much another scene partner.
Going out on a stage publicly and not knowing how people are going to react to you – once I experienced that, it made me feel much more comfortable about going into a scene.
When I still lived in Manhattan, people-watching was my hobby, and I spent many Sunday afternoons eating up the scene from a window seat at a Starbucks on Broadway.
Things go in cycles. It’s like fashion, like flares go out then skinny jeans come in, people want something fresh. It’s the strongest ever urban scene at the moment and I hope it can progress and keep getting stronger and be the base for something larger.
In these interviews, they’ve been asking me for a while, ‘If you could do a scene with anybody that you haven’t done a scene with yet, who would it be?’ It would be Christian Stolte. He’s the most incredible actor. He is always the smartest person in the room.
After all, in today’s music scene every band seems to steal from other bands.
We just started filming, and after every scene was shot, we had a rehearsal for the next one.
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, ‘Put some music in there.’
I realise few people get to live the life they always wanted, but I’m so neurotic, I don’t really think about it. I’m too busy thinking, ‘I hope I don’t screw up my next scene.’
I think you are always influenced by your surroundings and where you grow up. Your environment is always one of the things that shape you, and the music scene in Iceland was a very important factor in shaping me.
The electro scene is all over the clubs now: groups like Duck Sauce, Empire of the Sun, even MGMT. But I get inspiration from everywhere. I’ll go to the gym and put on old albums – Guns N’ Roses or old Jay-Z.
I think fitness and performance levels are the right indicators to determine if it’s the time to leave the scene.
I can’t write a scene unless I’ve visualized it. Unless I can actually see it, and that’s why a lot of reviewers have said my books are very cinematic, because I actually do see them before I write them.
This morning’s scene is good and fine, Long rain has not harmed the land.
I just got Kill Bill: Vol. 2. I’ve watched it like eight times in the past two months. I just love the scene at the end between David Carradine and Uma Thurman.
It was a matter of survival for the local people, but it was the most violent scene I have ever witnessed. The people in my group, feeling helpless, were all spellbound and aghast at the same time. I became a vegetarian shortly after that.
Rarely in film acting do you get to do a scene for very long.
At any given time, there are a lot of million-dollar luxury charter boats cruising around the Mentawai Islands finding the most incredible waves. And yet the people on shore are suffering. The whole scene is wrong. As a surf community, we have to do something.
I went on holiday with my kids and I had to make the choice – a good vacation for me, or a good vacation for them. A good vacation for them is to be with other Swedish kids, so I chose that, but I had to say, you have to behave, because I can’t have a scene in the restaurant.
Tone is up for grabs in what we do – what’s the tone of the scene.
Similar to the telescope or the telephone, television enables us to see or hear things we never dreamed of. When you look at the details, a concrete scene between people is really something incredibly unlikely, something subtle that requires extended description.
I came to the big city and I started to get involved in the punk scene and stuff, and I wanted to sort of brand myself. I made a pretty conscious effort to be a different type of person.
Definitely as an actor, the experience you have, at least I’m talking for me, my experience as an actor is you go to the set and know what you’re going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.
The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I’d plan ahead what I thought would be appropriate for that scene-so one take was enough.
Science is the greatest creative impulse of our time. It dominates the intellectual scene and forms our lives, not only in the material things which it has given us, but also in that it guides our spirit.
I really dig the scene that’s happening now, I really do, because there might be a lot of bad things going on, but if out of all of those bad things ten per cent of the groovy part of it stays, wow… you can’t beat that.
We have so much pride in welcoming these passengers onto the plane, and they have so much pride in travel. It’s something that I definitely always remember, when I’m playing a scene on the plane, just to imbue everything with that sense of excitement.
You jot down ideas, memories, whatever, concerning your real life that somehow parallels the character you’re playing, and you incorporate that in your scene work.
These were all middle-class kids from literary backgrounds, joining this sort of train going by, this pop train, jumping on. Whereas the rest of the rock scene, you’ll find that there’s mostly working-class people.
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.
That’s a rule in the business. No tongue. You can’t really get into it, otherwise, it’s weird. I think that particular scene made his (Adam Brody) girlfriend jealous. There were issues.
A James Cagney love scene is one where he lets the other guy live.
I checked myself out in that funeral parlour scene. I saw myself laughing, because there was a shot of Ed and I together and Mary was right in back of us. My head turned from the camera and I saw myself laughing, because Mary was absolutely brilliant in that thing.
The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story’s going to end and how it’s going to go. But on television nobody knows what’s going to happen, even the writers.
Now, what is it which makes a scene interesting? If you see a man coming through a doorway, it means nothing. If you see him coming through a window – that is at once interesting.
However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.
‘Mandie and the Secret Tunnel’ – the book and now the movie – pits a very young woman against forces she cannot control and events she cannot possibly know about. She’s in way over her head, and you’re pulling for her from the opening scene.
I love scoring. Putting music to picture is a rewarding challenge and one that relies on interpretation of emotion – as in, what is the pivotal feeling in a scene and which character’s point of view is driving it at any given moment?
I’ve gotten very good at scheduling my life, scheduling the scene and preparing myself for knowing, saving the energy, consuming the energy, knowing when to go for it and having the available reserves to be able to do that. You have to think about that, because it’s endurance.
If I’ve done my work well, I vanish completely from the scene. I believe it is invasive of the work when you know too much about the writer.
There’ll be moments when I’m out in the prison yard, chatting with the cast and the crew, getting ready to shoot a scene. And then I’ll remember if I were actually an inmate, I’d only be out there an hour. The other 23 hours of the day, I’d be in my cell. It’s kind of a downer.
If you’re sitting in the audience, you probably can’t see the preparation and work that goes into creating a great scene or a great part, but I can assure you that a good film depends on lot of different things falling perfectly into place.
I was always really into the music rather than the scene.
When I finally turned 18, I started to wonder if rave was now different to what it was and whether I’d missed out on the golden days of rave. So, I thought I’d talk to some of the legends in the game and get an education on how music was made, listened to and the rave scene from before I was even born.
I’m working on a snow scene right now, and it’s summer. It’s hot, and I will get chilly. I’ll have to turn on the heat. My wife walks in, and it’s 95 degrees in the studio. I know it’s nutty, but it’s a projection you have where you step into the painting.
He also didn’t like a lock of my hair and said that he couldn’t get into the moment without the hair being just right. I quietly knew that he was anxious and that the hairdo wasn’t the real issue. But we all let it go and came back to the scene sometime later.
Panic is rare, looting is essentially insignificant, people are not terrified and trampling each other to flee from a disaster scene, but in fact are trying to manage a situation. We may in fact revert to some sort of primordial civility.
It’s never really fun to have to cry in a scene or anything like that.
I was the last member of the family to get involved on the professional scene, although music has always been with me.
When I’m composing a scene for the first time, I try to imitate my character. The less critical distance the better – particularly when they’re acting badly.
There is a scene in the movie with DJ Cutkiller, one of the biggest European DJs from France, and he was scratching like crazy. When I saw that, I was 14, and I was like, ‘Yo that’s what I want to do. That’s crazy.’
Watch MTV and you can see what the music scene is like in England. The Spice Girls? Not a lot of creativity in the commercial area. There are still great musicians in England, but not a lot being heard that much.
There was one very special scene at the end of the film. My character, Zhao Di, has been sick. She wakes up and her mother tells her that the man she loves has come back from the city and had spent the day by her bedside.
Mostly, when you are shooting for action or intimate scenes, and you need to hold them, it takes away the mood if you both are not in sync. I have faced such situations and I think having a good bond with your co-stars only adds value to the scene.
I just wrapped ‘Eclipse’ yesterday and the last scene we shot is probably my favorite thus far. I finally got to tell my story, in a very gentle yet elaborate way.
Yeah, it’s funny, working on a show with as large a cast as we have here, your work gets sort of compartmentalized. There’s still about half the cast that I’ve never had a scene with but I have missed working with Terry.
When you suddenly appear on the scene and you are the new face, everything centers on you. I experienced this in my mid-20s and I found it rather hard.
I’ve been told, and I think I recognize it, that there’s a cinematic quality to my writing, with a sense of image and place and scene – and, some would say, my tendency to finish my books the way Hollywood finishes its films.
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.
When you do a play, you have all this time to rehearse and grow into the character. In television, even though you’re waiting and waiting and waiting, once you’re actually on set engaging in the scene with another actor, time is of the essence.
I don’t believe in myths of decline or myths of progress, even as regards the literary scene.
It’s like that scene from The Player when they talk about merging Star Wars and Kramer vs. Kramer, or whatever. You could do that with music and it would just be awful.
The Supreme Court has ruled that they cannot have a nativity scene in Washington, D.C. This wasn’t for any religious reasons. They couldn’t find three wise men and a virgin.
You have to examine a scene on the page first. Then you get into the basics of acting: Who are you? Who are you talking to? How do you feel about that person?
Sometimes a scene may be about one thing, and it may end up still being about that, but the emotionality of it comes from somewhere else, or the humor of it comes from somewhere else, and it gives it that real-life quality.
I’m a very recent convert to the gay scene. I went to a party a couple of years ago and met a very nice man who took me under his wing and started taking me out to clubs. It was a revelation.
Because I actually find the next take after they’ve controlled it a little bit and repressed the laughter is actually a really interesting take, because that’s still going on underneath the surface. That struggle to maintain composure becomes part of the joy of the scene.
In rare instances you have to give up what you thought was a great scene.
As a result of World War II, European artists migrated to America, enlarging the scene and diminishing Paris as the center. America was beginning its dominance of the art world with the emergence of the Abstract Expressionists.
There’s something very surreal about driving a truck, looking in the rearview mirror, and seeing 20 cop cars behind you. Even though you know, ‘We’re just shooting. This is just a scene; we’re making a movie here,’ it’s very unsettling.
I had the privilege of playing an angel on ‘Touched by an Angel’ for many years – almost two decades, and we would deliver a message on the show. The message was that God loves them, and before filming every scene, we would come together and pray.
And looking at today’s music scene, I think it’s cool that there are a lot of consumers and fans not limited by what radio and the record companies tell them to buy.
I think ‘Easy Rider’ might have been the first time that someone made a film using found music instead of an orchestral score. No one had really used found music in a movie before, except to play on radios or when someone was singing in a scene.
You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
When I’m on an adult set and I’m in a scene, I am myself. I’m not acting. I am playing to the camera, definitely, but I am myself.
I think there has only been one time in my entire career that I’ve ever gone back to shoot a scene. And it was a scene that, when we were shooting it, we knew that it wasn’t working. We knew there was a disagreement between the actor and director. So, we went back.
I write on a visual canvas, ‘seeing’ a scene in my thoughts before translating it into language, so I’m a visual junkie.
As actors we always say that once the person in a scene gets what they want, the scene is over. It’s resolved. But life is never resolved – you’re always in the process.
I try to use all of my senses when describing a setting, and try to think of everything that would impact a character in any given scene.
I’ll generally write out every scene that’s in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, ‘This first third of the film, generally, I’m kind of calm.’ Then I might do something on one piece of paper that just relates to the energy of the character.
I wanted to look at the upper-middle-class scene since the war, and in particular my generation’s part in it. We had spent our early years as privileged members of a privileged class. How were we faring in the Age of the Common Man? How ought we to be faring?
Congressional Republicans are dismantling the limited environmental protections initiated by Richard Nixon, who would be something of a dangerous radical in today’s political scene.
When we were doing a scene, lots of times we would collapse giggling, because it seemed so silly because it felt like we were doing a home movie at times.
I like the fact you can spend two hours setting up a scene that will only last a couple of seconds. And I like just sitting around and dozing between scenes!
I listened to all types of music, and obviously when I got to Seattle I was very much aware of the music scene there.
A lot of times, good improv is when both people, or however many people are in the scene, really have no idea what the next thing you’re going to say is.
One scene is enough for a good actor to leave his mark in any film.
I think so much of writing is an instinct, or a feel for a scene, or a feel for a character. You have to put into words the word ‘tone,’ which I think is thrown around a lot and can mean a hundred different things, but communicating that to other people is definitely a challenge.
One day, my twin sister Sidra and I pranked Tyler Perry on the set of ‘For Better or Worse.’ I made her dress up as me and do a scene as if she were my character Angela. Tyler says, ‘Action!’ and my sister starts acting. It was horrible.
You know, I just tend to do the scene that I’m given, really. If it really needs it, then I’ll go to them and ask ‘What’s she talking about? What’s she referring to?’ But often they don’t know, or they do know and they’re not going to tell me, so I’ve learned just to work with what I’m given.
It didn’t matter as much because I’m a singer, not an actress, but my face is more acceptable in a way now than when I first came on the scene, because I’m part black.
I think there’s a natural system in your own head about how much violence the scene warrants. It’s not an intellectual process, it’s an instinctive process.
I very much prefer the balance in a scene to standing out and so you have to make a decision.
If I’m doing a scene that requires a lot of focus, I’ll just take myself away and do what I have to do.
I had this extraordinarily bizarre moment when, two Fridays ago, my missus gave birth to our second child at 11am and by the same time the following day I was sitting around a table with Ridley Scott, Russell Crowe and Leonardo DiCaprio in Rabat in Morocco, rehearsing a scene we were going to shoot the next day.
I got into shape because I took kick-boxing lessons every day to prepare for a fight scene with Taylor Lautner. I really wanted to lie down and eat Chinese food, but I kick-boxed every morning and ran. If someone was filming you with your kit off, you’d do the same thing.
Usually, when I read something, I’m looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you’re losing the through-line of the story.
I was never really a bone fide member of the folk scene.
The joy of ‘Crash’ was that it was all about the work. It was my first real part. Before that, it was a line here and there, maybe a scene. ‘Crash’ was five scenes, a beautiful arc, a little vignette of my own. It really meant something.
When someone’s acting for a scene, they can fool the camera. But in everyday life, unless you’re watching and censoring yourself every minute, or spending all your time in the company of ladies, what you feel is bound to show in your eyes.
I love the hip-hop scene.
Sometimes, when you’re on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it’s a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.
Once the state has been founded, there can no longer be any heroes. They come on the scene only in uncivilized conditions.
If I have enough ego to say I’m a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.
When I got to New York City when I was 18, I started playing in clubs in Brooklyn – I have good friends and devoted fans on the underground scene, but we were playing for each other at that point – and that was it.
In some ways any film that you do has an artificiality about it. Even when you’re doing the most kitchen-sinky, gritty, realistic scene you’ve still got 50 people standing around watching you with cameras and lights and things.
Whether I’m acting or making it, at the end of the day it’s telling the story; action, drama. You want the audience to feel it – the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.
Television is fast and loose. You have two or three takes to get your part right, and if you have a problem, well, by the time you figure it out, everyone’s moved on to the next scene. It’s good training, keeps you on your toes.
Do you remember a scene with Ryan and Ali playing in the snow? Well, that was improvised.
I want to beat up Michael Fassbender in a movie. I was with him at the beginning of his career when he did an episode of ‘Murphy’s Law.’ He’s a proper superstar and enormously talented, but I want to do a scene where I properly duff him up.
I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you’re doing a scene with somebody like that or they’re watching you or something, you’d better come up with something.
You can’t give up something you really believe in for financial reasons. If you die by the roadside – so be it. But at least you know you’ve tried. Ten minutes in the music scene was the equal of one hundred years outside of it.
Bore children, and they stop reading. There’s no room for self-indulgence or showing off or setting the scene.
Henry Fonda gave me a spanking during a scene in Spencer’s Mountain.
It’s been a fascinating thing because we didn’t really know how to write when we started South Park at all. It’s been like, we’ve just sort of grown up a bit and it’s amazing to just see how, if you take Butters and Cartman and put them in any scene, it works.
I am really proud to be a part in whatever way of women becoming active in the political scene. I think it was the first time that people came to terms with the reality of what it meant to have a Senate made up of 98 men and two women.
A zeal for the defence of their country led these heroes to the scene of action, though with a few men to attack a powerful army of experienced warriors.
The history of Christianity, therefore, must be of concern to all who are interested in the record of man and particularly to all who seek to understand the contemporary human scene.
In Canadian comedy, you’ll almost never see guns. If you bring a gun into a scene, it’s like, ‘Whoa! Wow, how are we going to deal with that!’ Guns in an American comedy are a given. Violence in America is used in a much more cavalier way.
England is so defined, the class system, your education. I think what was unique about the Canterbury scene.
If you ask people why they move to the city, they always give the same reasons. They’ve come to get a job or follow their friends or to be at the center of a scene. That’s why we pay the high rent. Cities are all about the people, not the infrastructure.
I love the DJ scene out in the clubs. It is a great way to party and make people happy, the atmosphere is one that I use as an escape from reality.
I don’t really go to fashion parties; they’re not my scene.
Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance.
We have gotten to the point where everything the government does is counterproductive; the conclusion, of course, is that the government should do nothing at all, that is, should retire quickly from the monetary and economic scene and allow freedom and free markets to work.
Doolittle was a major influence on the Seattle grunge scene, which emerged in the early 1990s.
Julie Dryfus and I were both afraid of heights and in one scene, I had to be quite high up and I was rather terrified, but Julie was very kind, encouraging me and we got through that together.
I hate when you see a film and after one scene you know what’s going to happen and you can predict the whole story.
You can still have chemistry on screen without getting on with the person. But it just makes your job a lot easier if you don’t have to gird your loins, if that’s not quite the right phrase, every time you’re going to do a scene with that person.
I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I’m shooting, I cut it in my head anyway. That’s not to say that it always turns out that way, but you have a sense when you’re composing a sequence or a scene how you want it to look anyway.
As this world was not intended to be a state of any great satisfaction or high enjoyment, so neither was it intended to be a mere scene of unhappiness and sorrow.
I try to do a lot of research beforehand so I know where I want to go with a scene. I try not to get too stressed about it, because I find that’s the worst thing.
Everyone who appears in a scene gets paid.
The blues is the foundation, and it’s got to carry the top. The other part of the scene, the rock ‘n’ roll and the jazz, are the walls of the blues.
Somebody told me I should put a pebble in my mouth to cure my stuttering. Well, I tried it, and during a scene I swallowed the pebble. That was the end of that.
The weather was turning cold and I remember that Dante was using nothing but natural light as his electric department was away, prepping the scene in the cave. We stayed on that rock for the whole day.
I feel like L.A. is more of a showcase, and Chicago is a pure comedy scene where you’re doing comedy for comedy. You’re doing comedy actually for the audience that’s there.
But I did that, and I created another blues scene, another something I can sing about.
My greatest fear is feeling like a professional novelist. Somebody who creates characters, who sits down and has pieces of paper taped to the wall – what’s going to happen in this scene, or this act. What I like is for it to be a much more scary, sloppy reflection of who I am.
I just did a part in ‘Sin City 2.’ I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me… I’m so excited about that; I think it’s gonna be very cool.
In terms of ‘Solaris,’ I didn’t really think about the religious aspect an awful lot. There’s one scene at a dinner party, and it’s discussed, but it wasn’t an overwhelming theme for me.
Walking down the red carpet, suddenly I felt very special and different. All the flashlights from cameras and requesting voices from the media, the scene, it was just like what I remembered seeing on TV or a movie when I was a little girl – the scene only when movie stars appeared.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
Like with Berle, he was always trying to steal the scene, get a little extra.
I’ve never wanted to be part of an inner circle of any scene. I’ve always been an outsider looking to question and subvert.
In films you do a scene, you play around with it and unless you’re doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.
I become a better actor after I step on a stage in front of, like, 500 people when it’s just me, a microphone and my guitar. You don’t get as nervous walking into a room in front of 3 or 4 people and to do a scene or to walk on a set. You gain confidence.
Actors must practice restraint, else think what might happen in a love scene.
I definitely want to work with Thom Yorke. I want to work with Damien Marley; there’s a few international artists I wouldn’t mind working with – like Massacre Children would be ill, and I still have an affinity for the U.K. hip hop scene.
Suppose I put polka dots all over my body and then cover my background completely with polka dots. The polka dots on my body, merging with those in the background, create an optically strange scene.
Where is this Hollywood scene, where is it? I’d like to find it one day… If I want to go out and have a good time, I go to New York.
The physical life of the scene is determined by whether the set squeezes people together or whether the set has an escape place in it.
You don’t want me to sing. I could do a really bad karaoke scene, if I had to, but I’d probably choose to rap.
I’ve got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot ‘Old Boy,’ which is a very famous single-take fight scene. He’s really a true master.
I am fascinated by crime scene investigating. I swear, I wish I was a crime scene investigator sometimes!
Shooting of course has certain challenges, especially in terms of safety aspects to be sorted and venues are far away from the scene of action.
I was a child actor in ‘Deliverance,’ but not the banjo player. It was my dad’s big movie as a director, and at the very end there’s a scene where Jon Voight comes home to his wife. I played his young son.
When it’s a love scene with someone you actually love, there’s no feeling like, ‘Can I touch him here? Can I touch him there?’ You know what your boundaries are – or what they aren’t, I suppose.
I don’t take a scene or word for granted.
With fantasy and sci-fi, it’s based in a real fandom. You’re presenting to experts, and their source material is really important to them. They’ll come up and ask: ‘so when you turned your head slightly in that scene, what were you thinking?’
The scene where I took my eyelashes off we did in two takes.
The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible.
And that’s why I chose on purpose not to have a death scene. We’ve seen them in a million movies and it’s too much like cranking the tears out. I didn’t want that scene.
Sometimes you go into a film and you have no time to prepare and have to compress the details into a few days and then rely on the instinct and what happens when you’re in a scene with other actors and that chemistry or not.
Real art is basic emotion. If a scene is handled with simplicity – and I don’t mean simple – it’ll be good, and the public will know it.
It’s important to me that I don’t get trapped in the whole teen scene, because I feel that you can get lost in those kind of movies, and they aren’t really about the actors; they’re about the selling of the concept, and how much money it makes.
I worked in a coffee shop called Buzz Cafe in Oak Park. I started when I was 14 or 15, washing dishes, and then I became a barista and sometimes waited tables. It was an artsy scene.
There is one confrontation scene toward the end of the picture. In the middle of the scene, I thought, That’s Sean Connery! I don’t know how else to describe Sean Connery. I still feel that way.
I just never want to be in this situation where I get to set and they’re like, ‘We rewrote this scene, you’re now naked.’ I need a little prep work.
We did have a script, but it didn’t consist of the routines and gags. It outlined the basic story idea and just a plan for us to follow. But when it came to each scene, we and the gagmen would work out ideas.
You know, I remember watching Morgan Freeman when he did the two Alex Cross movies, and he’s so confident that he’s going to knock the scene dead. And I’m really confident that I can tell a good story now, so I just don’t worry about things.
I certainly wasn’t a fan of Thatcher’s politics. People liked to label us as children of Thatcher. What nonsense. The real children of Thatcher came in the 1990s, and had no interest in politics. The Oasis, Britpop scene.
Coltrane came to New Orleans one day and he was talking about the jazz scene. And Coltrane mentions that the problem with jazz was that there were too few groups.
No, the people standing before Christ and Pilate during the judgment scene do not condemn an entire race for the death of Christ anymore than the actions of Mussolini condemn all Italians, or the heinous crimes of Stalin condemn all Russians.
My show was revolutionary, ground-breaking. When I came on the scene, people were not doing a thing.
I heard that the same thing occurred in a scene in Alien, where the creature pops out of the chest of a crewman. The other actors didn’t know what was to happen; the director wanted to get true surprise.
I find that kid actors are great reminders of the simplicity of acting. As you get older, you can sometimes complicate things a little more. You can become too aware of, ‘Okay, this is the scene emotionally. This is where we need to be. We’ve got the climax coming up.’ You can start to analyze it too much.
I will walk out on a scene if it’s all lit and ready to go but it’s not happening.
When Scorsese shoots a violent scene, it’s very uncomfortable – it’s not like watching ‘Rambo.’
I played a scene at the end of my first year, and that’s how I was discovered.
I do readings at the public library. I just did a benefit scene night for my old acting teacher.
I care less if I can’t be part of your scene because I am the scene. I am everything that is.
The battlefield is a scene of constant chaos. The winner will be the one who controls that chaos, both his own and the enemies.
Dave Van Ronk, for those who don’t know him – probably most don’t know – was a folk singer. He’s kind of the biggest person on the scene in 1961 in the folk revival in Greenwich Village, biggest person on the scene until Bob Dylan showed up.
Any time a writer thinks he has all the answers to how someone should talk or react or end a scene, it’s a spontaneity-killer.
I’m not into the whole showbiz scene.
On ‘EastEnders,’ if someone gets surprising news on the phone, the scene ends with them looking at their handset in amazement. No one in real life does that.
I love ‘Troy.’ I love Brad Pitt’s character – when he went to Troy, he just ran over it. Then this particular scene where they made this big old horse or something out of wood, and they hid inside the wood.
I love when you get to work with people you know because there’s so much more trust, and you’re much more willing to be vulnerable in a scene with someone you trust.
In ‘Zombieland,’ it was such a freewheeling plot it almost didn’t matter what the characters were doing scene to scene as long as there was a consistent banter.
I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn’t hold up – it’s too much plot, audiences just didn’t want to hear about it.
A scene has to have a rhythm of its own, a structure of its own.
Yes, and there were changes of light on landscapes and changes of direction of the wind and the force of the wind and weather. That whole scene is too important in Homer to neglect.
When you’re on an ensemble show and you’re messing around with everybody every day and you’re not in every scene, and then all of a sudden you’re in every scene, it’s rough.
Jimi was always at The Scene when he was in New York and we played many times together. He was just everywhere – he went out and jammed everywhere he was.
I was in Deadwood at the time and on hearing of the killing made my way at once to the scene of the shooting and found that my friend had been killed by McCall.
I don’t storyboard, and I don’t really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
I’ve worked with actors who tell everyone what to do in the scene – that makes me go pretty atomic.
All an actor has is their blind faith that they are who they say they are today, in any scene.
There’s no platform for an unsigned music scene in the main cities – it’s all hyped acts or showcases behind closed doors. I read about artists that are doing it ‘the old-fashioned way’ and touring, as if that’s a unique thing to do – well, that should just be the way it is.
I tell students they will know they are getting somewhere when a scene is so painful they can just barely bring themselves to write about it. A writer has to draw blood.
I hadn’t been a recording artist all that long when albums came on the scene, and I was one of the first singers to point the way to how varied an album’s contents could be.
When I was a kid, I was a big fan of the regional scene. I read ‘Pro Wrestling Illustrated,’ and I watched Portland Wrestling and everything I could.
I look out the window sometimes to seek the color of the shadows and the different greens in the trees, but when I get ready to paint I just close my eyes and imagine a scene.
I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He’s the most incredible scene partner I’ve ever had.
To this day I over prepare. I draw storyboards for every scene – chicken scratches so crude that they amuse and horrify the crew. I send out shot lists, act out the scenes, and search for a theme that I can relate to. It’s my favorite time of the process.
I think is very beneficial to relax yourself so that when you are doing it you are not staggering for lines and your concentration is not on what I am going to say – but the scene itself, the character that you are talking to.
Before college, I acted in my room, to classical music, because music tells stories. I’d put on a record and proceed, silently. I’d keep putting the needle back to a certain segment because I hadn’t died well enough. I had to really, really feel dead. I’d love to do a death scene.
Also, there are seats in the diner that always fall off the table. If you have a scene where you’re packing up at the end of the day and putting them on the table, they just slide off.
I changed my mind because of a scene between Howard Cunningham and Richie. The father-son situation was written so movingly, I fell in love with the project.
I’m sure every film it’s going to be like, ‘Okay, this is the scene where your shirt gets ripped off.’ I’ll never be able to keep my shirt on.
The music scene is more competitive in the States.
First scenes are super-important to me. I’ll spend months and months pacing and climbing the walls trying to come up with the first scene. I drive for hours on the freeway.
What I have in advance are people I want to write about and a problem or problems that I see those people encountering and that I want to explore – it all proceeds sentence by sentence, paragraph by paragraph, and scene by scene.
Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don’t any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.
When I was in high school I got involved in the fringe theater scene in Chicago, and I met some openly gay people. I could see that it got better, that they were happy and loved and supported. I saw with my own eyes that it got better.
The script of ‘Shogun’ was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn’t take out a scene without putting ripples right through the back or the front of the overall story.
It was my first scene in any movie and my only scene in Kramer vs. Kramer. I was petrified.
For every LeBron James that jumps onto the scene, or every Derrick Rose that does really well in year one, you have a lot of others that take time to transition. Those guys are just brilliant in their own way, but a lot of other guys need a little help along the way.
The bad guy always gets the best scene and the best lines in the film, and they usually get the most days off.
When some people get parts, they feel they can now relax, but for me it was always the opposite. Sometimes before I do a movie or before I act out a scene, I may not sleep well the night before. If I don’t know what the scene is about, I might get all worked up.
If the boy and girl walk off into the sunset hand-in-hand in the last scene, it adds 10 million to the box office.
Language cannot describe the scene that followed; the shouts, oaths, frantic gestures, taunts, replies, and little fights; and therefore I shall not attempt it.
There was a little less pressure to be fit on ‘The Avengers’ than ‘Captain America.’ I had just finished ‘Captain America,’ so I was already built. Plus, ‘Captain America’ has that one scene dramatic scene where my transformation is revealed. ‘The Avengers’ has not one shirtless scene.
I used to write chronologically when I started, from beginning to end. Eventually I went, ‘That’s absurd; my heart is in this one scene, therefore I must follow it.’
A song versus an album is not like a scene versus a play.
What impresses me is the young actors with terrific talent arriving on the scene. They’d have blown us all away in the old days. Guys like Brad Pitt.
I want to be a a good influence to other people and in the music scene.
I was in a play directed by my father, and I was doing a fight scene, and the choreography went haywire, and I flew backward over a chair and ripped my thumb all the way to my wrist and had to have surgery to sew up all the tendons in there.
Never sit staring at a blank page or screen. If you find yourself stuck, write. Write about the scene you’re trying to write. Writing about is easier than writing, and chances are, it will give you your way in.
So we were doing this scene, and the kids get 20 minutes a day, um, so, all I had to do was pick him up out of the incubator and take him out, and that was the whole shot.
I have a number of writers I work with regularly. I write an outline for a book. The outlines are very specific about what each scene is supposed to accomplish.
That a great battle must soon be fought no one could doubt; but, in the apparent and perhaps real absence of plan on the part of Lee, it was impossible to foretell the precise scene of the encounter.
It was a scene in the sense that we were all close and we all knew each other before the different bands had really formed. We used to rehearse in the same place.
If you think you are beautiful in a scene, you will come across as beautiful. I don’t think looks are important; I think what’s important is if someone is sexy.
I don’t like to dwell all day over one scene as you do in a big feature.
When I first came to New York everybody on the scene would treat me like I could play, but I couldn’t.
I didn’t get to go to prom; I was filming a death scene on my prom night. But I got to go to all the homecomings, and even the winter formals I got to go to, but the only thing I missed was the prom, but everything else was great.
I was so grateful to have made ‘Into the Wild’ before I made ‘Speed Racer’ because on ‘Speed Racer’ I was indoors every single day, every single scene, on a green screen. Some of the time, just to pass the time, I would think back to climbing mountains in Alaska. That really helped me.
There is a very vibrant cultural scene in Stockholm. There are lots of places where there are concerts, and there are loads of museums and theaters.
When people embrace character, there’s latzie. It’s the stuffing of a scene that’s not written. It’s not in the stage direction and it’s not in the words. When people embrace character, it informs their living, breathing moments in a scene so well.
I do admit to being challenging, but it’s always for the work, it’s never personal. I will walk out on a scene if it’s all lit and ready to go but it’s not happening.
Film acting is so different from theatre acting, and TV is about letting things pay off and not winning every scene.
With ‘I Want Action,’ I think people take it in the context of the Sunset Strip and the party scene; it was tongue-in-cheek.
I enjoy the element of pushing yourself, learning something new, whether it’s a dance step, a scene, an emotion.
I want to focus on each scene. I’m a real perfectionist, and I don’t want to feel like I didn’t consider every possible variation of a scene. I come from a theater background, so I’m used to a lot of repetition, and I’m used to really attacking something over and over and over again.
Comedians like to see people smile. With acting, I love giving people a feeling, an emotion. I like to give people a feeling. When they come away from my scene, I want them to think.
I take the fact that films cost a lot of money very seriously, but once in a while to have somebody say, This is a big scene, take your time with it, is important. That’s John Sayles.
My instinct was that it was Sidney’s childhood in the Bahamas that gave him the fearlessness to fight racism. So this documentary was a kind of rounding out of what had begun in that scene in In the Heat of the Night.
It’s not the destination that matters. It’s the change of scene.
There’s a bunch of cities I’m not crazy about, but I love Chicago. I love the musical history – the mid-’90s indie rock scene, Chicago house music. It’s a great town.
I’m an emotional actor. When I’m doing a scene, I really believe it. I live the part as long as I’m in the scene.
I like to try the scene over and over, but given the confines of television, I don’t have that option.
We were very fortunate to have been on the scene when we were.
You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that’s good.
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.
Very often a change of self is needed more than a change of scene.
I have a painter’s memory. I can remember things from my childhood which were so powerfully imprinted on me, the whole scene comes back.
If a movie is received badly, and I’m in only one scene of it, I still feel responsible. I feel like it was my fault at all times. If people were like, ‘This movie sucks!’ I’d be like, ‘Well, that’s because I’m terrible.’
I think I must have too much to eat, we were doing a scene where we were crawling, and I ripped my trousers. I was very embarrassed. I was sown in, stitched in, quickly!
I found it more challenging to act in a small scene, especially if it has no dialogue and if it is a close-up with only expressions.
You are preparing yourself for a scene, and the most important thing is to remain emotionally available and remain in the moment with your scene partner. You don’t want to let your own self-consciousness block the flow of creativity that’s coming out so that you can act and react, and play what the scene is all about.
The New York gallery scene being as incredibly overpopulated and overmoneyed as it is, deep conflicts and contradictions aren’t hard to find.
The only way to make a scene realistic is to do it the way you know it would really happen.
I just focus on getting the first scene right, with a few lines about the overall plot, and then the book grows organically.
When you’re in that scene, you really wonder if this is all you’re ever going to be. You know how vile and filthy you are inside.
I’ve found that when I’m having trouble solidifying a character or a scene, that music will often free my subconscious just that last little bit to allow me to move forward, and often it’s in a direction that I didn’t expect, but is 100 percent true to the character.
I love working with Alexander Skarsgard. He brings such gravity to a scene.
Art, a book, a painting, a song, can definitely inspire change, whether it’s a small change or a big change but you know there’s novels I’ve read or a scene in a film that I’ve seen where I definitely inspired something and made a change or addressed an issue in my life or done something cliche like make a phone call.
The last thing you want to do when you are about to film a scene is think, ‘Oh my God, so many people are going to watch this.’
Many people think voice over artists just read, there’s much more to it. Without acting beats, scene study and improving skills, you won’t make it.
Good actors, especially when they know their character, will come in and either tell you in advance that they have an idea, or in the middle of the rehearsal or the scene they’ll let it loose and you go, ‘Ah that’s great.’
I’ve always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really.
I think, for one thing, all of us remember those teenage years and those songs that we fell in love with and the music scene that we were part of. So, in a certain way, music cuts through time like almost nothing else. You know, it makes us feel like we’re back in an earlier moment.
I don’t personally look to my own life experiences for answers about how to play a scene.
I couldn’t get a job to save my life. That’s why I wrote ‘Road to Paloma.’ That got into Sundance and got into that scene, and that’s how I got the role in ‘The Red Road.’
I think coughing up slugs was quite hard. Ron has a scene where he has to cough up these giant slugs.
It doesn’t matter what you feel – ultimately, it’s what the audience feels. You can finish a scene and think to yourself, ‘Oh, God. I was so deep in that moment,’ and find it just didn’t play. I don’t know if I have very good radar about that or not.
Gradually the live TV scene simmered out, replaced by film, and that took place in L.A. So many actors left New York.
I think as long as there are folks on the fringe who want to make movies, the indie scene will still be around. I do think it’s getting harder to get them seen though.
You don’t need a love scene to show love.
The lighting is so important. One thing that makes me nuts about the lighting now is that they spend an enormous amount of time lighting the set, the background. But the most important thing in the scene is the actor.
Ah, reality TV: where opportunists delight in exposing opportunism! It’s kind of like the indie music scene.
In Birmingham, Manchester or Liverpool there are white gangs that share the same backgrounds – they come from broken homes, completely dysfunctional, mums for the most part unable to cope, the fathers of these kids completely not in the scene.
I haven’t had to do too many, or many explicit ones. Everybody feels weird, and everybody is trying to tiptoe around and make you think they’re not there. The last time I did a love scene, I couldn’t keep a straight face.
The scene changes but the aspirations of men of good will persist.
Olympia was a town crawling with music. I was new to the whole punk scene. The culture shock continued; Olympia had bagels! We didn’t have bagels in Arkansas. You could order vegetarian food all over town! It was so crazy to me – a place with so many vegetarians, the restaurants made special dishes for them?
The scene was not a happy one yet we looked upon it in the cold stoical spirit of a soldier; a slight chilling pang and then a return soul and body to the enemy before us.
Look, I do not control alpinism. But maybe I was too successful. Many in the mountaineering scene – journalists, second-rate climbers, lecturers, so-called historians – had a problem with me for many years.
As much as I converse with sages and heroes, they have very little of my love and admiration. I long for rural and domestic scene, for the warbling of birds and the prattling of my children.
It is very, very difficult for a playwright to write a scene in which a young man has his first deep experience of sex with a girl whom he found immensely attractive, is fully satisfied by this event and gets up and blinds a lot of horses.
When President Teddy Roosevelt posed for the cameras astride a massive steam shovel during construction of the Panama Canal in 1906, it was more than a simple photo op. Though the scene was clearly staged, it symbolized a crucial moment in American history.
I think it’s so dope that I’m here in Chicago and contributing to the music scene that’s thriving. People are so happy Chicago’s shining that everyone is willing to say ‘I represent Chicago.’ That wasn’t always the case.
It’s a very strange experience being on set of ‘Breaking Bad;’ you never know what’s coming next for your character. I feel like I don’t even know if I’m going to live through the next scene I’m in. It’s exciting to work on.
I have a nationally distributed film whose pivotal scene is the ultrasound-guided abortion.
I think part of that is to create an environment where it’s like real life, where you don’t really know what’s going to happen to you in a certain scene.
Obviously, my life and my job in 2010 is very different from Peggy’s experience in the 1960s. I exist in a world that enjoys more equality between men and women. But I don’t take any of that into my performance. I just want to play the character as who she is as an individual – scene to scene.
In the beginning, it wasn’t even a question of deciding I’m going to do independent film and not commercial films – I wasn’t being offered any commercial films, and there wasn’t an independent scene.
I like finding stuff that I suck at and trying to get better. So I’m taking classes, getting myself comfortable in an acting scene. You’ve got to work out those ticks. For instance, standing up used to be really hard for me. I act much better if I’m sitting down.
The alliance in Jammu and Kashmir is one of the most important developments on the contemporary political scene.
I am quite familiar with Dubai and its design scene. I have been a regular visitor for more than 10 years. It is hard to name an area where hospitality, friendship, culture, ambition, and beauty are so highly regarded.
One of my favorite stories is my first kissing scene with Linda Gray.
A lot of directors are great and they are fine but you know I think that Harry really takes a special point to really engage the actors and really make it feel like a safe place for them to explore whatever it is they want to explore in whatever scene with their character.
The scene then as now was centered in New York. For the most part, I’ve kept a bit apart from that attractive and seductive city. I’ve done it by living in the country within commuting distance.
I played a paraplegic on a show called ‘Neighbours.’ Just turned up on set, sat in a wheelchair. The producer came up to me one day and said, ‘We have to cut around that entire scene because your leg was moving.’
I’m a spoilt brat. I thought I was just going to walk in and make movies. But I’d been my own boss for so long that all of a sudden to be facing a roomful of people who were niggling over every little scene… I just thought I’d go back and draw my comics and have a happy life.
We started seven years ago and finally released our first vintage in March. It’s an ’07 vintage from Walla Walla, which is my old hometown. It also happens to be a world-class wine region that’s just exploding on the scene right now.
Dave Van Ronk is not an obscure figure. He’s the biggest figure on an obscure scene, playing a kind of niche music that we knew and liked.
Sometimes I’ll go by and there are a couple of swans, the next day it’s a few ducks. I’d like to stop there every day for a year and capture how it changes, then put it all together to create an incredible image of a traditional English scene.
I find it really awkward to do a scene where I’m supposed to seem like I’m in love.
I’m sentimental about many things: the lumpy feel of a baby’s unused feet, the metallic smell of the air before the first snow, the last scene in ‘It’s a Wonderful Life.’ But Valentine’s Day leaves me cold.
One of the things that I tell beginning writers is this: If you describe a landscape, or a cityscape, or a seascape, always be sure to put a human figure somewhere in the scene. Why? Because readers are human beings, mostly interested in human beings. People are humanists. Most of them are humanists, that is.
I first came on the scene during the Johnson years and that crowd was out all the time enjoying themselves. Nixon wasn’t particularly social but a lot of the people in his administration were.
There’s nothing scarier than silence. A lot of horror movies lean on hits and score to try and create tension, which actually does the opposite. The best scares come from a desire to see the character overcome what they’re dealing with in the scene. If you care about the character you’ll care about the scare.
If you work in Chicago in the improv scene, anyone is happy for you if you get a job.
It’s one of those scenarios where no, I never imagined that I’d be directed in a love scene – not even a love scene because it’s kind of a hard-core sex scene because it’s kind of just purely played for this carnal venting.
If life gives you lemons, don’t settle for simply making lemonade – make a glorious scene at a lemonade stand.
I’d like to do a story about the medieval ages where in every scene you’d sort of feel that you were in the 12th century. That would be great to get that feeling.
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.
I would say my fraternity was nothing but a bunch of farm boys; we weren’t really in the whole fraternity scene, but yeah, that’s a safe assessment of who I am. I’ve lived that life, growing up in agriculture and then going off to college and joining a fraternity, livin’ that life.
From the director’s point of view, it’s infinitely easier to do violence than to do a good dramatic scene.
A lot of times when I’m writing lyrics, I just think about insecurities that I might have and turn them into a scene. Some things may be true, and some things may not.
The best preparation for acting is life – observing life and people and observing yourself. All that becomes your library. So when you have to research a part, a scene or an emotion, you go into the library and get what you need.
I’ve worked hard and accomplished what I’ve accomplished in the heavyweight scene.
In Goodfellas they have this one scene where the camera goes down some steps and walks through a kitchen into a restaurant and the critics were all over this as evidence of the genius of Scorsese and Scorsese is a genius.
It’s nice that the independent scene is taken seriously, and has been.
Woody Allen likes to do a lot of master shots. He likes to get the whole thing in one take, and so you could be going along doing a scene, and then the next to last line, all of a sudden, you stumble, and you have to go back to first base.
Every musical scene has a cycle.
I loved getting to do Promised Land with him. I mean, he’s really there for you. We did one very emotional scene in the church. He’s just a wonderful acting partner. You feel very safe with him.
If I’ve still got my pants on in the second scene, I think they’ve sent me the wrong script.
I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.
The memory of that scene for me is like a frame of film forever frozen at that moment: the red carpet, the green lawn, the white house, the leaden sky. The new president and his first lady.
When it comes time to write the book itself I’ll shut the lights out, picture the scene I’m about to write then close my eyes and go at it. Yes, I can touch type.
People say: ‘Why do you want to play the straight man?’ Well, it’s because he gets to be in every scene.
The political scene is already so turgid, it doesn’t need more of that from me.
On Sept. 11, 2001, thousands of first responders heroically rushed to the scene and saved tens of thousands of lives. More than 400 of those first responders did not make it out alive. In rushing into those burning buildings, not one of them asked, ‘What God do you pray to?’ What beliefs do you hold?’
When I’m actually assembling a scene, I assemble it as a silent movie. Even if it’s a dialog scene, I lip read what people are saying.
If you get an impulse in a scene, no matter how wrong it seems, follow the impulse. It might be something and if it ain’t – take two!
Once we got the scene down, we were told to improv.
With digital editing, I now can make many, many versions of a scene.
I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.
If you have an impulse, not if you’re going to ruin someone elses’ scene, if you have an impulse of a funny little add-on or taking something in a weird direction, try it.
A lot of young directors, they’re not confident; they’re not open to the emotional level of the scene.
He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he’s in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn’t around then.
Women were very, very good at ‘Pong’. It was part of the dating scene. The number of people who told me they met their wife or husband playing ‘Pong’ was huge. They were shoulder to shoulder, talking and playing. It was body contact and verbal contact.
I started using Twitter about year after its very early adoption and ended up investing in it around that same time. I’m involved with the Tech scene and companies ranging from Facebook, Stumbleupon and Twitter.
What would life be without arithmetic, but a scene of horrors?
I go by my instincts. It’s whatever I feel in the scene in the moment.
But it’s very difficult, I can tell you I played the Czech Open a few times and it’s very difficult just to go on to a scene where the course is prepared differently when the greens are fast and he’s not used to it and they’re hard as a rock and he’s not used to it.
I am one of those guys who could do the most emotional scene and crack a joke instantly. I’m lucky. I’m just like an idiot savant. I have one enormously enjoyable, pleasurable – for me – talent, which is being able to act.
The music technology scene is changing so fast it’s hard to keep up.
I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.
There was a scene early on during the first season of Roswell and I broke down crying. Since then, I’ve always just been able to do it.
I have a phone obsession. It’s really hard on set sometimes because I’ll be checking Instagram, and then I have to remember, ‘Oh, crap, I have to shoot a scene or rehearse.’ Every now and then, I have to turn it off and live my life.
When I was 13, I kind of got into the punk scene. I realized it was easier to wear a pair of combat boots and jeans and a beat-up T-shirt. I think of it as a uniform.
I think there was a lot competition in the rock scene.
My dad became a soap opera actor, and I was an extra in a skating rink scene on the soap. I didn’t audition. It was nepotism all the way.
I really enjoyed the last scene at the Ewok celebration after the battle.
Piper insisted she had to be out of breath when we played this one scene, so she ran around the block. Thank God she wasn’t doing a crucifixtion scene; we would have had to nail her to the wall.
What’s more awkward than doing a shower scene? Rehearsing a shower scene.
Sometimes I just want to write a really intense love scene. But I can’t do that in my books for teens, or parents will complain – believe me, I’ve tried.
When I met Elvis, we didn’t really have a conversation. I was introduced by my uncle, and he sort of grunted my way. What stays with me is the whole scene. I had never seen a real mob scene before. I was really young and impressionable. Elvis really did look – he looked sort of not real, as if he were glowing.
If a brutal scene is shown for no reason except to shock, then it is bad.
In my first movie, That Night, with Juliette Lewis, I had a scene with two other girls where we applied a cream to our chests to make our breasts grow. I was 10.
All I can really say is it’s bloodier than hell. In this one I’m going to be much more direct and honest in my description of the actual killings and the crime scene.
Cyberattacks have become a permanent fixture on the international scene because they have become easy and cheap to launch. Basic computer literacy and a modest budget can go a long way toward invading a country’s cyberspace.
I always consider the settlement of America with reverence and wonder, as the opening of a grand scene and design in providence, for the illumination of the ignorant and the emancipation of the slavish part of mankind all over the earth.
What I find sometimes that is tricky is if actors are using too much of their own life in a picture, in a scene, they get locked into a particular way to play the scene, and it lacks an immediacy.
I remember the first time Bill Fichtner and I had a scene together. I’ve seen him in a few movies, from ‘Armageddon’ to ‘The Perfect Storm’ and ‘Contact,’ and suddenly he’s on a bunk bed and I’m on a bunk bed and we’re doing this scene together. That was a real ‘pinch me’ moment.
So I decided to move that scene in the doctor’s office to two-thirds into the movie, after the viewers had come to know Ryan and Ali and share in their happiness.
It is no use describing a house; the reader will fix the scene in some spot he knows himself.
Just about any story we think about doing, whether we’ve read it in a newspaper, heard it on the radio or come upon it through word of mouth – by the time you get there, every other network, cable station and talk show is already racing to the scene.
‘La Lupe’ is my passion project. I’ve done it as a one-woman show, but I’m raising money to turn it into a film. It’s a story of a Cuban singer who became the Queen of Latin Soul, the first woman on the N.Y. salsa scene.
The first set I remember was ‘Ghostbusters.’ It was a scene in which the street erupted. I remember even at seven years old thinking, ‘Wow, if you direct a movie, you can break the streets of New York.’
There was a fascinating handmade poster scene in Chicago in the ’90s, and I became friends with many of the artists; the posters were often more impressive than the bands.
I’ve studied a technique called the Sanford Miesner technique, that teaches you how to focus. It’s mainly about daydreaming. And the technique’s really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
I was always singing but didn’t plan on pursuing it seriously. When I got to New York City when I was 18, I started playing in clubs in Brooklyn – I have good friends and devoted fans on the underground scene, but we were playing for each other at that point – and that was it.
25, 30 years ago, that meant something, they were making some money. And they were doing all sorts of comedy, screaming at the audience, basically crowd control. And then there was the whole urban comedy scene.
You always hear actresses talk about how unromantic it is to act a love scene or a sex scene – which it is. You’re doing it with all these lights on and cameras flying around and people on the set.
My favorite scene in all of movies is Gregory Peck in ‘To Kill A Mockingbird’: You see him where he’s on the porch, and his face is almost completely obscured. I don’t want to see his face.
‘The Dance Scene’ is just a real look at what it takes. You see the award shows. You see the videos and you never realize what goes on behind the scenes. The reality and the preparation. The motivation I have to give each dancer on that set.
Comedy is similar to hockey… in only one way. You get a lot of credit for assists. So I try to serve whatever the intention is, be it the joke or the story or the scene or the moment or the kiss, even if it’s not my joke or moment.
When Mohammed Rafi was not an active playback singer, Kishore Kumar dominated the scene and vice-versa.
If you’re writing a scene for a character with whom you disagree in every way, you still need to show how that character is absolutely justified in his or her own mind, or the scene will come across as being about the author’s views rather than about the character’s.
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.
My first scene was a streaking scene, I had to streak at a footy game, that’s how I get introduced.
The funniest thing happened in one of my first scenes. In the beginning Emma was really arrogant and punk and in every scene she would slam the door when she walked in or out.
It was like a classic thing with Emma. So I walked in and I slammed the door and everything fell off the wall on the set. It was my second or third scene and I was so embarrassed and scared and so nervous about what everyone would say, but everyone just packed up laughing.
I come from a TV background, so for me this more like doing a freeing theatre piece because we’d go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
I wish BTS could set up a model for k-pop with the best music and content so we have a positive impact on the U.S. music scene.
I like to give dimension to shots inside action scenes. It’s demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you’ve got a cool action scene.
The great thing about ‘Justified’ is that the writers will craft a scene, but if the actors come up with a great idea, they’re 100% for it.
I remember my first scene with Alan Rickman, and I was anxious because he is a slight ‘method’ actor; as soon as he is in his cloak, he walks and talks like Snape – it is quite terrifying. But I really wanted to talk to him because ‘Robin Hood’ was one of my favourite films.
With songs I almost see the images, see the action, and then all I have to do is describe it. It’s almost like watching a scene from a film, and that’s what I go about trying to catch in a song.
I paint the American scene.
I haven’t had the time to plan returning to the scene because I haven’t left it.
Often in television, you read a script and you’re amazed that you get the scene given to you.
The romance stuff is easy. A sex scene… that’s hard, because you don’t know what to do. Those scenes are awkward.
When I watch a movie for the first few times I’m usually thinking about where I was in a given scene, who was next to me, what we were doing etc. But after I’ve gotten through all of this, when I’m really watching the film itself, then I get moved.
I’m a fan of the western genre. When I see a character actor, I see a whole movie behind a scene before and after. There’s a whole other movie behind it.
One day, we were doing a serious scene and fast talking like we do and we could not stop laughing and the director had to stop the production. We had to go to our trailer and calm down and do it all again.
What I don’t like is when I see stuff that I know has had a lot of improv done or is playing around where there’s no purpose to the scene other than to just be funny. What you don’t want is funny scene, funny scene, funny scene, and now here’s the epiphany scene and then the movie’s over.
Once the big lights come in, you can feel self-conscious. How can you capture the scene without ruining it and freezing people up? You keep it small and lean.
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.
Our pop scene is among the best in the world because there are 300 languages spoken on the streets of London, compared with 200 in New York. Our diversity is our strength.
I think independent movies are actually very challenging right now, because it was this huge scene and it was great for a few years. Then, it was totally co-opted by the studios. Now, it’s become very corporate, the independent scene.
I remember one time that I was filming a scene in whych my character rides through Troy on a chariot. I just looked around at this incredible set thinking ‘This is the life’.
I did grow up in Los Angeles. I actually didn’t start acting until I was sixteen, so I was very removed from the Hollywood scene. I had always been in my school plays, but my mom and dad wanted to keep me out of the business until I was old enough to know who I was and not let anyone change me.
I feel like Drake saw that I was up-and-coming in the gaming scene, and he thought it would be a perfect way to just tap into another source of viewers by playing with me. He also might have just wanted to game. I’m not sure.
If you look at the developments in the international scene over the past many years, we haven’t been able to resolve many problems and many crises, because we have approached them from a zero-sum perspective. My gain has always been defined as somebody else’s loss, and through that, we never resolve problems.
I think it’s just a lot more pressure to make the scenes work when you’re doing a film, because when you’re doing a series you feel like, I have so many scenes, so many episodes, so if I don’t get it exactly right this time, I have another scene later. You feel less pressure.
When I’m shooting a film, I don’t look at playback. I don’t go and do a scene and then hurry up and watch what I just did. I never look at it so I haven’t seen any of it.
The main differences between contemporary English and American literature is that the baleful pseudo-professionalism imparted by all those crap M.F.A. writing programs has yet to settle like a miasma of standardization on the English literary scene. But it’s beginning to happen.
The frustrating part of being a movie actor is waiting in your trailer to do two takes of a scene you’ve prepared for two months.
The last scene in ‘Moonlight,’ that’s one of the most extraordinary things I’ve ever seen on film in my lifetime. You see two men showing such tenderness towards each other. And it’s bold; it’s deep. It’s complex. It’s profound.
If they’re working in a workshop somewhere, where there is, let’s say, uh… only twenty people, or something like that, that’s still, when they work and do a scene, that’s still working in front of somebody.
When I’m singing a song, I’m in that song, and I’m thinking about what emotions I should bring to the song. Voicing a character was very similar. It was high energy, and I had to really think about the emotion of what was going on in the scene.
I believe I’m doing the right thing in trying to step away from that and to take chances and work on little independent films and do stuff like that wild dance scene.
I’d have a sex scene with Whoopi Goldberg or Star Jones.
The moment the curtain rose on that first ballet, I knew something wonderful and new had come into my life. I can still see the first scene. The ballet was Divertimento No. 15.
Even colors were important to me. If it was a somber scene, the colors were muted and dark. If it was a happy or seductive scene, the colors were brighter.
The option of solicitor advocacy came on the scene a bit too late for me.
Tolkien is as good as Dickens at sketching a scene.
Some film actors want to sit back and look at every scene and all that crap. No, you’re an actor – tell the story, and when it’s told, there’s another one to tell.
I’ve been shocked by film actors – 25 and under – having such confidence and cockiness to rewrite a scene. My background is more about the director being in control. It’s all about yielding. It’s an oddly submissive relationship in which you’re moulded, Pygmalion-style.
I still approach a scene as one would approach a solo. There’s nothing set or pat.
There is a deep camaraderie of insecurity between us actors. You rehash choices you’ve made among those who are close to you and inevitably bang your head against the wall when you finally figure out the scene… a day after you shot it!
When I hit the scene, there was Billy Connolly and Max Boyce. It was all mother-in-law and Irish jokes, and we broke the mould. Now there are thousands of comedians out there, and I don’t think I can be above it all.
Well, one of my favorite ones to work on – besides just about any scene from ‘Deadwood’ – was my scene with Brad Pitt in ‘Assassination of Jesse James’. That was just a fun day.
When I was an art student in the early 60’s before the acid scene began I was smoking pot just like anyone else who was an artist.
If I’m preparing for something and I’ve got a huge day the next day, I have to get into character the night before to assess the scene. I can’t assess a scene unless I’m in character, if that makes sense.
I do like to work on a Marvel method, so if I’ve got the opportunity, and the writer is happy to do it, I like to have a writer detail what happens on a page, but not saying what happens in every scene.
You know how in most teenage movies the girl meets the boy, they kiss, they have some type of fallout, then there’s an awkward sex scene, and then they’re together forever? And they say the perfect things the whole way? That doesn’t happen in real life.
The scene was attempted a second time, up on top of the fort, and cameras didn’t even roll. Michael, though he wasn’t admitting it, wasn’t sure how to shoot the scene.
No, we didn’t shoot… in the ones that I did there were hardly any sex… there were suggestions of sex scenes but we never actually shot a sex scene as such.
I’m always surrounded by good-looking guys, like Zac Efron, so I have to be with someone who’s not going to get jealous about any of that, or when I’m kissing somebody in a scene.
I’m definitely one of those actresses who comes to a set knowing how I want to do a scene, and I definitely love input from my directors and my writers. I know that there’s some actors who like to be left alone, they like to be very independent, but I actually really enjoy the teamwork.
With moviemaking, the audience always has to keep asking, ‘What happens next?’ If you have the wrong piece of music over a scene, people aren’t going to get the scene. If you have the wrong camera angle, people aren’t going to pay attention. That’s as much a part of the process as getting people to talk to you.
The way I go about a lovemaking scene is that we will talk about it during the rehearsing time.
As an actor, I like as much time with the material as possible and given the opportunity, time spent with the other actors in the scene. But that is a rare luxury in working in any TV series.
It wasn’t so much of a controlled effort to end up as part of the Goth scene.
A movie that makes me cry every time is ‘Billy Elliot.’ That scene where he’s dancing in the hall, and his dad walks in. And the first time his dad can see how amazing he is dancing, but he’s so conflicted with kind of his own feelings towards it. Oh, it’s so emotional.
I don’t get the jitters and I don’t get nervous, because I build that comfort on set for myself. Sometimes if I’m gonna do something really crazy, it helps me to yell or look like an idiot on set, so that when I’m about to do a scene, I’ve already embarrassed myself. I find ways to work around getting the jitters.
I claimed identity as Jewish musicians for political reasons, because most of us were touring in Germany and, at this time, twelve years ago, there was a strong resurgence of Nazism in the places we were touring and part of that was on the music scene.
The only reason for using another cut is to improve the scene.
So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.
I can’t tell you how much we laughed on the set to have Alec Guinness in a scene with a big, furry dog that’s flying a space ship.
It was a turning point in the sense that as a scene, we can up with a lot of new ideas.
Because of the need to remove all modernism, we stayed in the middle of nowhere all day long, living out of tents. It was cold. It definitely set the scene.
Sweet is the scene where genial friendship plays the pleasing game of interchanging praise.
I remember doing the sex scene in Red Rock West. I had to kiss Nic Cage and then look like I was going down on him. And he couldn’t do anything – he just had to lie there.
Most of my stuff before CSI was kind of the jerk boyfriend, so I thought this was one of those deals, where these two have a thing going on, so we had a scene where they make out.
In the States, this type of jam-band phenomena has opened it up for groups to improvise, admittedly more in the groove area, as opposed to the straight-ahead jazz thing – which is good for me, as that’s one part of where I’m at. It’s been so great playing these gigs and seeing kids come out and the whole college scene.
Sometimes fake laughing is hard once you’ve done a scene 18 times. I don’t want to brag, but I have a reputation for being very, very good at that. It’s funny finding what’s challenging about acting as you go.
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.
I was a girly-girl until I moved to New York. Then I got really into the androgynous look of the early-’90s club scene. I had really short hair and started blurring the line a bit. But for me, grade school was about Benetton, Esprit, and Guess jeans.
The Florida in my novels is not as seedy as the real Florida. It’s hard to stay ahead of the curve. Every time I write a scene that I think is the sickest thing I have ever dreamed up, it is surpassed by something that happens in real life.
There are a lot of actors who will watch the monitors. They’ll do a scene, and then the director will look back to see if he got whatever he wanted. I just find it odd to sit there and watch yourself.
That’s the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don’t have to cover every scene.
Greater than scene is situation. Greater than situation is implication. Greater than all of these is a single, entire human being, who will never be confined in any frame.
When I look at a character, whether he’s good or bad, one scene or 10 scenes, I just have to find my way in.
My favorite – my very favorite movie, which I suppose is a bit of a guilty pleasure in that it’s like, you know, every scene, you know, pushes every button, is ‘True Romance’ directed by Tony Scott with Patricia Arquette and Christian Slater, and it’s a fantastic, fantastic film, very violent, very romantic.
I saw ‘Taxi Driver,’ and ‘Taxi Driver’ kind of saved my life. The scene where Robert De Niro is looking at himself in the mirror saying, ‘You talkin’ to me? You talkin’ to me? Who the hell else are you talkin’ to?’ That’s the scene that changed my life by changing my attitude about acting.
A lot of young actors will do a scene and then run off and look at themselves. I don’t believe in that at all.
I know pretty well in the broad sense what I’m going to do, because I have to know that when we shoot the live-action, so that it’ll synchronize. Then I know pretty well when I get to the animation stage, what that scene requires.
I’m always saying that my books are not autobiographical because they’re not. I can’t choose any one scene and say, ‘Oh, this is exactly what happened to me!’ I just use little snippets of things as a starting point!
There’s the movie you write, there’s the movie you shoot and the movie you edit, and often, you find that you’re getting the same information out of a scene that you already have and a scene that’s actually more powerful, so you have to make the tough decision to take it out.
I can’t stand the club scene. It’s all about impressing people.
There are times when I’m driving home after a day’s shooting, thinking to myself, That scene would’ve been so much better if I had written it out.
Novelists are not equipped to make a movie, in my opinion. They make their own movie when they write: they’re casting, they’re dressing the scene, they’re working out where the energy of the scene is coming from and they’re also relying tremendously on the creative imagination of the reader.
It’s almost better most times to not talk in a scene. I think you can actually express a lot more without words.
And sometimes, when you feel low on yourself, that’s just when you have to go out there and be photographed or do a scene where you’re hot stuff. You’re always working on it.
All trembling, I reached the Falls of Niagara, and oh, what a scene! My blood shudders still, although I am not a coward, at the grandeur of the Creator’s power; and I gazed motionless on this new display of the irresistible force of one of His elements.
Yeah, you know, if I’m having an emotional scene I do like to go off and be by myself; not to say that I’m a method actor or anything like that, but for scenes like that that are more emotional, I do like to take that night off and not be so social.
I’m Sudafed-ed up, but it’s alright because I’m having to do this rather sultry scene, so maybe it’s OK that my voice is three octaves lower.
When Robert Benton was doing the movie ‘In the Still of the Night,’ I’d choreographed the auction scene and supplied the paintings and had a bit part – I was bidding against Meryl Streep.
‘Evita’ was four pieces of slick paper and a record album. It’s the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I’d ever seen before myself.
I’m wary of the whole Los Angeles scene. I’m a California kid, but there’s a difference between California and Los Angeles. L.A. is urban. California is restorative.
Then I did one fight scene, and they said it looked good. Because I did it well enough, they’ve given me more.
I enjoy some physical stuff. But if I had a choice between playing a scene where it’s raining, it’s terribly cold, I’m wet and I’m being drowned and playing a scene with dinosaur eggs in a laboratory, I’d probably take the latter. It’s warmer and generally more comfortable!
It feels so great to be back on the scene.
The English scene got more media attention with their emphasis on fashion, with the safety pins and all. There were some really good bands over there. The Sex Pistols were great.
If the director says you can do better, particularly in a love scene, then it is rather embarrassing.
As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.
Most women’s pictures are as boring and as formulaic as men’s pictures. In place of a car chase or a battle scene, what you get is an extreme closeup of a woman breaking down.
And this system sorted out the Chechen war in just 20 days. This way, I used the President’s power, he didn’t use me. It wasn’t hard for me to leave – it isn’t my scene. I have nothing to do there.
When I don’t know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don’t usually come up with a similar kind of thing.
When the Chicago rap scene came about, I listened to all of the upcoming artists like Lil Durk, Chief Keef and G Herbo.
That’s what sets apart one actor from another, and that you can’t teach. You can’t give someone that. When you’re working, putting a character together, or in a scene, that’s where things will happen that you have to have the intuition to notice them, and to register them.
But I couldn’t cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.
I don’t really like to work with actors that work a lot and are very well established already. In a way, I like to nurture talent and have it burst on the scene.
Acting with creatures that aren’t there is kind like acting with an actor who refuses to come out of his trailer. You still have to go on and do the scene.
I must confess I knew very little about the trance scene, I’m more house and commercial dance but it was really interesting and different.
I like working with actresses, and I like women a lot, not for obvious reasons, but just in that that there’s so much about what they bring to the scene that keeps it so interesting. Their instincts are so different, and they never explain them to you.
When you’re around the whole Dead scene, they’re there as a tribal thing; they’re there as part of a rendezvous and a pow-wow.
You rarely find someone who sings really well and who produces really well; it’s a problem, and I just think it’s a missing link in the music scene.
I was going to be a musician, no matter what it took. I supported myself with blue-collared jobs so I could write music and be in a band and play shows. I even got into an underground art scene. I was going to do whatever.
In Paris we have bistros, then we have fine dining. In London, you have a very contemporary scene with mixed influences.
The stuff that I got in trouble for, the casting for The Godfather or the flag scene in Patton, was the stuff that was remembered, and was considered the good work.
Yes, you can feel very alone as a poet and you sometimes think, is it worth it? Is it worth carrying on? But because there were other poets, you became part of a scene. Even though they were very different writers, it made it easier because you were together.
Especially with a comedy, you’ve got the clear cut goal of trying to make a scene funny. It’s not like drama where you’re trying to achieve some kind of emotion or trying to further the story along. You’re trying to figure out what’s the funniest way to do something.
Certain things can’t be approximated, so I’m always interested in getting in another way, one which makes the reader bend in closer to the scene even if that scene, especially if that scene, is painful… Brutal language isn’t necessarily the most truthful way of describing a brutal moment.
I think everyone’s different but in comedy, I try to do my scene to make the director and the other actors laugh. If I can make them laugh and we have the same sensibility, then I’m on the right page.
Every Sherlock Holmes story has at least one marvelous scene.
If you do a scene and you really like a character in it or a premise in it to write it down and to work on it so that you can have five or six characters that you can pull out in an audition.
Webcomics are much bigger than any one scene can circumscribe.
I think if you play music and you join a scene you’re already too late.
Try to forget what objects you have before you – a tree, a house, a field, or whatever. Merely think, ‘Here is a little square of blue, here an oblong of pink, here a streak of yellow,’ and paint it just as it looks to you, the exact color and shape, until it gives you your own impression of the scene before you.
I have no memory for what happens in what books. I don’t know when I might remember a scene, but beats me what book it’s in because there are 14 of them now.
The less the camera is able to capture what you’re seeing in a scene, the more editing it needs.
David Lynch’s ‘Fire Walk With Me’ has a scene in it that scared me so bad that I don’t remember it. I blocked the memory out – repeatedly! I’ve seen the film two or three times, and I can never remember what it is that scares me.
If you give me a typewriter and I’m having a good day, I can write a scene that will astonish its readers. That will perhaps make them laugh, perhaps make them cry – that will have some emotional clout to it. It doesn’t cost much to do that.
The other guy I dug a lot was Burroughs because he was a smart man already; he learned it through the druggie pool – the street scene of an old aristocratic kind of man.
Just be nice to me while I am doing the scene; that is all. I don’t want big cars, I don’t want big hotel rooms.
I will say that equity overall is an important issue and one we are constantly looking at. In a perfect world, the entertainment and media industry and the content on our screens would reflect the true American scene.
Chicago’s like Melbourne – there’s a city center, there’s public transport, and there’s more of a cultural scene.
With today’s fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That’s what makes it an art.
My theory is, if you can do comedy and you can be in a scene with someone like Brad Garrett and hold your own, you’ve really got a future in this business.
I worked a lot in Chicago’s theater scene as a fight choreographer. And so I do have a lot of experience in stage combat and also in Kabuki dance and Kabuki theater.
I have a trainer that I box with. Luckily, on ER, they’ll tell me if I have a shirtless scene coming up and I’ll have a few weeks to power it out.
What’s powerful about a love scene is not seeing the act. It’s seeing the passion, the need, the desire, the caring, the fear.
Only the change on the international scene, the crisis in the gulf, and the strong, firm position of the United States against aggression between two Arab countries created realities that led to the Madrid Peace Conference.
In 10 different takes, you can do a scene 10 different ways.
I’ve made humanitarian causes and my children much more my priority than the Hollywood scene, being liked and getting movie parts.
America, when it became known to Europeans, was, as it had long been, a scene of wide-spread revolution.
And you can’t hide in a comedy scene either. You have to give in to the scene and commit.
In ‘Purab Aur Paschim,’ there’s one of the nicer patriotic scenes which is patriotic without going jingoistic. There’s a scene set in a rotating restaurant, where Pran, who has left India, is completely running India down and Manoj Kumar is taking up for India. And there’s that song ‘Jab Zero Diya.’
If you’re locked to the words on the script, as good as those scripted words are, if you didn’t have the time to rehearse them correctly or if the perceived dynamic between the actors is different from what the writer imagined, and you’re not allowed to stray from that, you’re going to have a stilted scene.
But I just love that music scene so much, and I enjoy really being around those artists and watching them even more than I do performing, because they are a whole group of people that do it because they love music.
They were looking for actors – real actors – who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.
I’ve done quite a lot of dying on shows and in movies. To have a good death scene though – come on, it’s brilliant. I love a good death scene!
As the scene of life would be more the cold emptiness of space than the warm, dense atmosphere of planets, the advantage of containing no organic material at all, so as to be independent of both these conditions, would be increasingly felt.
Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That’s what I look for.
Certain movies like ‘Wag The Dog,’ we used improv on every scene that we did. Pretty much, we would shoot from the script and then some stuff that we came up with in rehearsal, and then we’d have at least one or two takes where we completely went off the script and just flew by the seat of our pants.
What people don’t understand is that my dad isn’t up on the contemporary music scene. He’s been a legend for decades and he doesn’t know what’s going on right now, and he doesn’t need to.
Some writers can produce marvelous plots without planning it out, but I can’t. In particular I need to know the structure of a novel: what’s going to happen in each chapter and each scene.
I love Charlie, Billy Burke’s character. Writing for him is so spectacular, he’s so funny and wry and every scene he’s in he just takes. There’s a scene in ‘Eclipse’ where Bella tells him she’s a virgin, and it’s the funniest, most awkward scene I’ve ever seen on film.
I grew up in Oakland, California, and there was a really active scene in the Bay Area. Everyone else knew it as the ‘Hyphy Movement’ of Mac Dre, E-40, and The Pack.
I think in L.A., in terms of the music scene, it’s a really strange place. It’s really hard to get the feeling that something’s happening, or the feeling that something can make it out of there.
The international proletariat first appeared on the scene in the early Thirties of the nineteenth century, and its first great action was the French Revolution of 1848.
The Taliban’s acts of cultural vandalism – the most infamous being the destruction of the giant Bamiyan Buddhas – had a devastating effect on Afghan culture and the artistic scene. The Taliban burned countless films, VCRs, music tapes, books, and paintings. They jailed filmmakers, musicians, painters, and sculptors.
