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Often in television, you read a script and you're amazed that you get the scene given to you.
If you're comfortable with someone, you feel creatively free. Whether it's a comedic scene or a dramatic one, you don't feel self-conscious because you feel safe with the people that you're around.
Normally death scenes are good, if you have a significant death scene and it means something it's like the audience has an attachment to you being killed that's a good thing.
I get a terminal dissatisfaction on films. If I was bad in one scene, it's impossible to let go. And it can make or break my day. If I drank, I would probably drink a lot.
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.
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 like letting takes play out, beginning to end. I don't like doing pick-ups of one line or another. I like letting the actors discover the flow of the scene, inside the scene as a whole.
But I couldn't cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.
You think you photograph a particular scene for the pleasure it gives. In fact it's the scene that wants to be photographed. You're merely an extra in the production.
TV is a huge draw. It's a magnet. Even when I was a policeman, if I was on a police scene and the news showed up, I'd race home to see if I would be on TV for 2 seconds!
In 'Zombieland,' it was such a freewheeling plot it almost didn't matter what the characters were doing scene to scene as long as there was a consistent banter.
A lot of the times once you've finished a scene, the best reaction is to say you don't really remember what happened. I don't really remember what I did or the choices I made.
It's easier to do an action scene than a love scene. I love fighting. When the camera's not rolling, I'll usually punch some of the actors, just for fun.
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.
Ahmadinejad is just a buffoon, sort of a clown on the international scene who tries to be provocative so he can get his name in the paper and his face on television.
I never liked the bar scene. I tried to like it. I would give it a try every three or four months. I'd think, tonight I'm going out. But I never met anybody in that circumstance.
And I like those authors best whose scenes describe my own situation in life-- and the friends who are about me whose stories touch me with interest, from resembling my own homely existence.
My favorite scene on the show [The Office] is on the booze cruise when I finally get to talk to her and tell her, and I react exactly how I would react by saying nothing.
A lot of kids are moving to Baltimore, because we have a great music scene and we've got edge. Come on down, we've got scary edge. But great edge - it's still a city you can be a bohemian in.
New York was the last place that my movies caught on. I didn't make underground movies in New York, and in the 1960s, they were very snobby about that, because the whole scene was here.
I condition myself to believe that once the scene is done, once the movie is done, my job is done, and whatever happens after that is none of my business.
I think that, just like the art scene and the music scene is exploding in LA - I mean, let's face it: if you want to be an artist you cannot live in New York anymore because it is too expensive…
Nirvana was like that- Nirvana was like the only band to come out of that- it was like the same thing, Seattle was like this whole scene and it was like this big scene that was thrust upon America.
I think we're in a time and place, the last 20 plus years, and certainly now, it's only more so, where it's just about us creating a body of work. Creating hopefully our own scene.
[My mother] told me a little bit about the scene out there and I think, as a small child, I just always felt a connection to that history because my mother had described it to me.