Scene Quotes - Page 27

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I like hearing from everybody and not just my co-screenwriters or producers. For example, while on set, I find it valuable to turn to my PA and ask, 'What do you think? Is this scene working? Do you like what you see? You got any ideas for that line there because that idea isn't working for me.'

I think the downloadable scene in general is really, really interesting for developers because it's low-risk. It doesn't require as much money as a triple-A title. And it's a great proving ground for new IPs, new concepts, new ideas - things that I think I, as a developer, find really attractive.

Straight edge came out of the hardcore scene. I don't necessarily believe, as some people believe, that you have to be a part of the hardcore scene to share that philosophy and stance against recreational drug use. But it is where it came from, and it is where it influenced me to be a part of it.

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.

I try to learn from both, from features and documentaries. In both cases you have to find a way to make the camera as discreet as possible, and flexible enough to be able to capture the moment when it happens. I know from documentary how to not have a preconceived idea of what the scene could be.

Before this country came on the scene, for thousands of years people did things the same way. Within 200 years of the advent of this nation, men were walking on the moon, and I want us to recognize this is the kind of people that we are. We're creative with a lot of ingenuity and a lot of energy.

In 'A Room With a View' there's a lovely scene with Julian Sands and Helena Bonham-Carter in a wheat field. It was simply the right time of day: late afternoon, that golden light, wheat and poppies... So romantic. But I had no idea it would turn out that well, since we so rarely shoot in a studio.

Like any other person who reads a ton of books, I hate many, many books. Oh, how I hate them. I have performed dramatic readings of the books I hate. I have little hate summaries. I have hate impressions. I can act out, scene by hateful scene, some of these books. I can perform silent hate charades.

When I admire a writer, it's for the recognizable palette - Hemingway's minimalism, the dialogue, those isolated bar scenes. But with each story or novel, he shows me something different within the framework he's built - like noticing that there's a chair in the corner I didn't see in another story.

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.'

The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.

The way I paint is similar to rock in that you don't stand around and say, 'Gee, what are they talking about?' Rock is simple, blunt, colorful. Same with my paintings. You don't stand back and wonder what it is. That's Jim Morrison, that's a panda, that's a scene on the West Coast. It's not abstract.

Very few things are totally devoid of any possibility of humor. If you are aware of that possibility and alive to the scene becoming that way, then it just happens naturally. That's what I feel living is like, too. I find a lot of things that make me smile or make me laugh over the course of the day.

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?'

I love to work. I know that sounds ridiculous to say because all people love to work, but I love the homework that goes into acting. I love figuring out different ways of playing a scene. I love the energy of being on set. I love not getting enough sleep because I have to wake up early in the morning.

I'd love to claim that what I have done in my life is of my doing, but it's not of my doing at all. I've blown around in the wind like a mad thing, influenced by this and that - like a piece of paper: like the boy in that scene in 'American Beauty' watching a piece of paper blowing hither and thither.

Walking at random through the streets, we came by chance upon the Cathedral of Notre Dame. I shall long remember my first impression of the scene within. The lofty gothic ceiling arched far above my head and through the stained windows the light came but dimly - it was all still, solemn and religious.

Chris Cooper once told me to never have any regrets. After Chris said that to me, I walk into every scene thinking, 'exhaust every possibility.' Once you get to a certain place, it's like you just deliver everything you've got. Don't have any regrets. It pops up in my mind over and over and over again.

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.

It's good that people come to the shows because there's nothing fashionable about Swans. Never has been, really. We've never been part of a scene. So the people that come are really there for the music. Fortunately, there's a lot of young people and a burgeoning female contingent, which is good as well.

Basic Instinct 2' is an uneasy experience because, although it is hyper-reflexive to the point where it is hard to think of one character, one scene, one plot twist that isn't a reference or an echo, there is nothing knowing about it. No matter how absurd the film gets, it refuses to raise its eyebrows.

If you feel like you're doing terrible in a scene, that usually means that you're not listening because you're too preoccupied with yourself... you're not listening to your scene partner. If you listen, you're naturally going to get that response that the camera's going to pick up because you just react.

What I consider a good part for a woman and what some other Hollywood people think are good women's parts are very different. I don't want to play the supportive girlfriend who has nine scenes and just loves that man, maybe cheats on him in one scene but will always be there, and I mean - give me a break.

I can work a lot faster when I'm writing a screenplay than when I'm writing a play because, if I'm having a problem with a scene or something, I can just be writing it in a way where there's no dialogue, or find a way to make sound do the work that I want to do or a close-up do the work that I need to do.

When I met Bob Dylan, I was definitely impressed. This guy had come from the American folk world, but he was very schooled in poetry, too. He'd studied the Beat poets, of course. I grew up in the British bohemian scene. Dylan grew up in the American bohemian scene. So I was very pleased to meet such a guy.

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.

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.

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.

Priyadarshan has directed over 84 films and more than 150 ad films. With every film, he is growing. He knows his job well; he is thorough. His way of making a film and song or choreographing a scene is entirely different from other directors. He knows how to use an actor's talent and how to handle an actor.

Of course there are some actors that are better than others and performances that are better than others, but they're always embedded in the greater film. They are mediated through the work of so many other people: the director directs, the lighter sets the scene, the editors edit, the music gets put to it.

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.

There's no experience like going down an empty freeway toward a hurricane and then looking in the opposite lane and seeing bumper-to-bumper traffic, people fleeing that scene. Or going to a toxic spill and seeing people go the other way. You talk yourself into thinking you're invincible in order to do that.

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.

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.

The landscape is a reflection of the inner life. Since I can't shoot the inner life, all I can shoot is the exterior but I know that when I'm filming outside, I'm filming inside. I can only really touch the inside through the mise-en-scene. So through the mise-en-scene of the outside we can explore the inside

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.

When I was in high school, I was doing a fashion show, and my House Father would host fashion shows at the school. He was great at it. He saw me and said, 'That's my daughter.' The rest was history! We went to New York City to rehearse and go to balls, and I was in the ballroom scene until I was 17 years old.

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 think 2014 for me is going to give me the possibility to do even bigger things than anyone has done. I want to change the party scene - like, stop just being a DJ with lights, a big LED screen, and oh-look-at-me speakers. There's way more to a party, and I think everyone knows it. I want to make it special.

I had just been in some repressive situations - the black middle-class college scene and the crazy United States Air Force - and so I just felt like getting out of that. I thought, now, that I wanted to be a writer. I had something that I wanted to do, that I was interested in doing, so I wanted to pursue that.

People used to say if you really want to crack it you have really got to go to America. But with the Internet and the scene how it is... Americans are coming here more and more. They are looking at what we are doing. I think it's important that we all remain here, that we stay here and keep this scene thriving.

If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.

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 was working with Bryan Cranston in 'All the Way.' We were about to make an entrance together - I was Hoover, he was LBJ - and he says to me, 'You should play the brother in 'Better Call Saul.' I was like 'What?' and it was time to go on. I'm doing the scene, and I can't think of what Hoover's supposed to say.

The traditional Hollywood system is pretty rigid, but the film scene in, say, South Africa is booming with a lot of possibilities. If you have the cameras and reasonable capital, you can put your film in theatres next to 'Guardians of the Galaxy.' A great example of that was Kagiso Lediga's film 'Blitz Patrole.'

I really, really like Nicole Richie, and the only reason why I always bring her up is because I'm impressed with her style evolution. This is someone that came onto the scene that people didn't necessarily view as a style icon, and she completely switched up the game. And I like how she takes risks with fashion.

I can see a scene in my head, and when I try to get it down in words on paper, the words are clunky; the scene is not coming across right. So frustrating. And there are days where it keeps flowing. Open the floodgates, and there it is. Pages and pages coming. Where the hell does this all come from? I don't know.

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.

Sometimes when a scene is written or directed to be shouted or played incredibly angrily, I always think it's way more terrifying when someone is fuming and talks in a very calm way. I always want people to shout at me if they're angry - it freaks me out that whole thing of, 'I'm not angry I'm just disappointed.'

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.

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