Quotes of All Topics . Occasions . Authors
The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed.
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.
As I get ready to buy a new computer, I'm stunned at all the many micro drafts, of different chapters and scenes and whatnot, that litter the hard drive.
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 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.
It comes down to something really simple: Can I visualize myself playing those scenes? If that happens, then I know that I will probably end up doing it.
Actually, when it comes to knocking the Canadian cultural scene, nobody outdoes Canadians, myself included. We are veritable masters of self-deprecation.
A director must push his actors to the utmost limit to get everything possible out of each scene - without being corny or sentimental or going overboard.
Action, reaction, motivation, emotion, all have to come from the characters. Writing a love scene requires the same elements from the writer as any other.
Stand-up is not just an American thing anymore. It's global. In some places, stand-up comedy is brand new. South Africa has only had a scene for 15 years.
I don't see a candidate on the scene right now, but it is going to have to be a candidate that people can look at as a leader and not as a man or a woman.
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.
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 did put on weight for the last half of the film, but the Ferris wheel scene was shot with a harness on me so that if I fell I wouldn't fall all the way.
In the given circumstances you must be rooted in the play. Do not depart from the play. Don't cut yourself off from your partner in the scene, or partners.
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.
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.
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 try to stay away from the L.A. scene as much as possible. I feel it helps me to better prepare for my roles if I am not too involved in that whole thing.
We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.
The only dangerous scene is when James Cromwell put a stake in my chest. But other than that, it turned out to be quite a punch. I didn't think much of it.
The connection between pathos and broad comedy is very tight. But you do far more work in a comedy scene than you do in a straight scene. It's much harder.
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 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.
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.
The first horror film I remember seeing in the theatre was Halloween and from the first scene when the kid puts on the mask and it is his POV, I was hooked.
Both the Beatles and The Rolling Stones broke on the music scene the summer I was in England. I can vividly remember hearing 'She Loves You' in August 1963.
So many times you see beautiful lovemaking scenes with a lot of exposure or an awkward lovemaking scene, but I think it's very rare that you see it private.
We goofed around a lot and acted silly. It was great working with Mark Wahlberg too. Some off scenes I had with him I was terrified to do, but he was great.
I think the most emotional part in making the movie and discovering the movie - because it was a process of discovering - is all the scenes with the family.
The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.
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.
I never wanted to be part of any scene, I never wanted to be a part of anything, I wanted to do my own thing. Those are the lessons I learned from punk rock.
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 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 saw the industrial scene and I was affected by it. I tried to paint it all the time. I tried to paint the industrial scene as best I could. It wasn’t easy.
Every scene is a challenge. There are technical challenges, but often it's the simplest challenge where you feel a sense of achievement when you pull it off.
I don't like to know exactly what I'm going to do in a scene, because the most interesting moments as an audience member are moments of truthful spontaneity.
A lot of improvisation ends up being about just thinking outside of the box in the scene. It's not improvisation as much as it is quickness or making it real.
I'll look at the script and I'll try to find as many books, movies, and pieces of music that I think are going to feed each scene or the character as a whole.
There's a scene in 'Singin' in the Rain' where this guy dances with a giant doll while singing 'Make 'Em Laugh.' I remember loving the pure physicality of it.
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?
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.
It's just really, really beautiful. Each scene is one long 15 minute take without cutting. My scene is with Robin Wright-Penn so I'm pretty excited about that.
There is a tendency to underestimate the power of what we can do without words. Sometimes you can make a scene even more powerful and precise without dialogue.
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 see only defects because I'm not following the scene as it were. I'm not following the other person. It's like the best thing to clarify this is the theater.
What about good small roles for women? I've told my agent, if there are two great scenes in a film, I don't care, if it's something with that great edge to it.
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.
At the end of the Middle Ages, nobody would ever have expected the monasteries to vanish from the scene within a generation - yet they did. Change does happen.