Top 565 Scene Quotes

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.