Scene Quotes

In reference to the murder scene in 'Dial M for murder' As you have seen on the screen the best way to do it is with a scissor.

I've worked with actors who treat the first two takes like rehearsals. And that's okay. If the camera is on you and we're doing a scene where I'm off camera, I'm treating that as a rehearsal.

I love making people uncomfortable, and when people say, 'I cringed watching [that] scene,' that's the biggest compliment you can give me.

So cute how you called out for Damen after conjuring that chaste little love scene in your head.

Don't start a scene where two people are talking about jumping out of a plane. Start the scene having already jumped. If you are scared, look into your partner's eyes. You will feel better.

The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.

In every relationship, sooner or later, there is a court scene. Accusations, counter-accusations, a trial, a verdict.

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.

I remember my dad turning to me - my dad loves to turn to me and explain why things are funny. He used to do that with Seinfeld all the time. He did it with Colombo, too, set the scene.

The way I go about a lovemaking scene is that we will talk about it during the rehearsing time.

You learn the values that are inherent in the scene that the writer has written. You learn about who you as a character are in relation to those others who are working with you within that scene.

If I had problems, I kept them to myself. I didn't make a scene.

So I was hugely thrilled that my first scene ever on camera was with Hal Holbrook.

I'm a product of older filmmakers I guess, the past where you get to make movies and scenes are what they are.

I don't like to over-intellectualize scenes that are working. I tend to think when you do that you may lose it.

There's a certain truism that you can't be self-conscious in comedy. If I'm in it and if there's a scene that has a great set-up, I will go as far as somebody will let me.

I was buying old records a lot in my early teenage years and I was mostly drawn toward the artwork even more than the band itself. I loved the way the art set the scene for the music.

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.

Do you remember a scene with Ryan and Ali playing in the snow? Well, that was improvised.

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'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.

Even in the big movies, if the scenes are very big, I'm not fond of them as much as I'm fond of small actor scenes.

A good novel is an indivisible sum; every scene, sequence and passage of a good novel has to involve, contribute to and advance all three of its major attributes: theme, plot, characterization.

James Bond in his Sean Connery days ... was the first well-known bachelor on the American scene who was not a drifter or a degenerate and did not eat out of cans.

Fiction is a sort of inter-human magic, allowing you to travel into a scene and feel it tingle on your skin.

How is it right to slip free of an old skin and walk away from the scene of the crime? We came, we saw, we took away and we left behind, we must be allowed our anguish and our regrets.

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.

I drink a lot, probably too much. My scene while writing lyrics is always a bottle of scotch and stacks of note cards, pencil and pencil sharpener. I throw around note cards and drink.

My first scene was a streaking scene, I had to streak at a footy game, thats how I get introduced.

I like getting carried away by what is happening and then decide each scene based on the actors, the set and the light.

As an actor, you think you have to go really far and deep and cry and yell to be good in a scene. Sometimes that's not the point.

If you try to deliver a funny line in a funny way, it comes out as wacky and you ruin the scene.

I am a fan of rehearsal. I like doing it [scene] over and over and over and over until it looks like you never did it before.

I'm not the kind of person who thrives in "the scene." I know that when this is all over, and I'm no longer cool, I'm going to be just as happy because I'm going to be at home.

I love any scene where there's a physical confrontation. It reminds me that I'm in show business and I play pretend for a living.

If you have someone falling out of the boat, you'd have to drag the boat up the river and film the same scene ten times, every time, dragging the boat exactly where it was up the river.

It feels so great to be back on the scene.

[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.

I've never written an autobiographical novel in my life. I've never touched upon my life. I've never written a single scene that I can say took place.

Going out is such a hassle. The singles club scene where you sit down, talk, get to know each other, hang out-it's such a big ordeal.

And if the audience is in a kind of naughty, raunchy mood, then they're going to make naughty, raunchy suggestions and then we take them and we do the scene anyway, and that's part of the fun.

You can't just have a fight scene. In my opinion, it has to be a character moment or story moment.

I remember that I auditioned with the scene where I pull the grandfather out of the coffin. I just loved it so much.

I have "come back" [to music scene] so many times, people are just like, Is this another one?... It's kind of like a joke to me now.

For a director, the most challenging scenes are the dialogue scenes.

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.

That's always something that's really important for an actor - to find an opportunity to do a scene where there is a moment like that, where you manage to connect with everyone.

As an insecure writer, I'll finish a scene and worry there's a better version of it. Or it could be elevated somehow.

To play well the scenes in which we are 'on' concerns us much more than to guess about the scenes that follow it.

In theater, the scenes I like the most are the ones where you are there and you cannot talk.