Quotes of All Topics . Occasions . Authors
If the scene bores you when you read it, rest assured it WILL bore the actors, and will then bore the audience, and we're all going to be back in the breadline.
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.
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.
Language cannot describe the scene that followed; the shouts, oaths, frantic gestures, taunts, replies, and little fights; and therefore I shall not attempt it.
A lot of these "reality shows" do a lot of producing scenes and producing things and drama and all that but we did the deal contingent that we wouldn't do that.
I like the dueling club scene, where Daniel and I fight with our wands. I thought it was a brilliant scene to shoot. I think the end product looked really good.
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.
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.
When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play.
[Martin Scorsese ] basically works just like any other director. You work the scene, you try to find what's best in it and make it work. That's what it was like.
Really, at a time when they're debating when and where a nativity scene can be used, this is the kind of stuff we need to have out there - outside of the church.
She [Susan Lucci] was extraordinary. She wouldn't look at the scene until you walked in to rehearse it. It was amazing to me. That's the impression I got anyway.
When an actor plays a scene exactly the way a director orders, it isn't acting. It's following instructions. Anyone with the physical qualifications can do that.
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.
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.
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.
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 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.
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.
You know, when you finish the day, and you finish the scene, you don't get a chance to go back to it. So you wanna make sure that everything is left on the floor.
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.
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.
The title always comes last. What I really work hard on is the beginning. Where do you begin? In what tone do you begin? I almost have to have a scene in my mind.
A lot of these angles are really about trying to mimic broadcast sports angles in order to anchor the scene, to sort of normalize it before it becomes abstracted.
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.
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.
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.
Each character has their own challenges. The challenge to doing one scene is your whole history of who you are and your relationships, you only have this one shot.
I can make a scene that's not supposed to be sexy, very sexy. It's a power you're born with. It's not a physical thing, it comes from inside. It's all in the eyes.
Yeah, what happened was Universal wanted one of the characters to be nice so they chose me so there was a scene where the girl was tied to the bed and I let her go.
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.
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.
I like to tell students, 'I didn't burst on to the literary scene.' I'm never good at things at the beginning. I was terrible at the start. I need to work and work.
I have the impression that the new generation of young people, are coming up on the scene with a sense "ancestorhood", and with more wisdom than was evident before.
I find it enormously valuable to be sure that that the pacing is what I think it is and that the scenes have the shape I think they have musically and dramatically.
I think sex is very interesting for most people, but I'm interested in sex as a way of communication, I'm not that interested in the fantasy version of a sex scene.
What I particularly liked was that, coming from California and not being involved in the New York scene, I developed my personal way, in my own way, at my own pace.
As an actor, you can steer a scene in another direction by playing it a little differently. And honestly? I like being an actor, and I want to keep having a career.
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.
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 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 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.
For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they’ll do in any scene you put them in.
There's always that jumping off place when you're doing a sex scene when you can tell the crew's like, 'OK, it's comin'. At this point, it's actually not a big deal.
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.
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.
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.
The pivotal scene in 'AK,' where Jackie Shroff 's character Singaperumal parades around his room in the buff, is a metaphor for his false sense of prde and arrogance.
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.
It was with 9/11 that I came to fully appreciate and embrace NPR's irreplaceability as a sanity preserver, its unique virtues as first responder on the burning scene.