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If you have an impulse, not if you're going to ruin someone elses' scene, if you have an impulse of a funny little add-on or taking something in a weird direction, try it.
I don't really have those kinds of intentions when I write a scene. I try to follow the internal logic of the fiction, rather than make an argument or an assertion.
I want to sell tracks but at the same time I want to stay true to the music I like. This is why I love the underground scene because they can stay true to what they want to do.
A lot of actors are just like la la la - they're never really connected and then they're in the scene and then boom. They're looking you in the eyes and they're just really focused.
I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.
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.
Okay. Now you have to move your arms and legs.” “I know how to make a snow angel.” “Then do it! Otherwise, you’re more like a chalk outline at a police crime scene.
I'm not part of the Hollywood scene. I don't run around with 30 women. I have a very calm household. I'm surrounded by my grandkids and wonderful friends, and I consider myself very lucky.
You can't hide behind the guise of fiction. No matter how autobiographical a fictional scene is, you can always tell the reader - in protecting yourself - that you made it up.
How sublime Upon a time-blanchd cliff to muse, and, while The eagle glories in a sea of air, To mingle with the scene around! - Survey The sun-warm heaven.
In this scene, I'm talking about how much I don't like cookies.... I'm sayin', 'Listen, guys. Have you read the book? We're not supposed to be eating.'
The fact that "Léon: The Professional" doesn't have every award in the world is a sign that it is underrated. I'm not even ashamed to say that I cried during every scene.
I first came on the scene during the Johnson years and that crowd was out all the time enjoying themselves. Nixon wasn't particularly social but a lot of the people in his administration were.
When you're writing a screenplay every scene needs to change from positive to negative, or negative to positive, and constantly trying to change the values of the movie.
In life's last scene what prodigies surprise, Fears of the brave, and follies of the wise! From Marlborough's eyes the streams of dotage flow, And Swift expires a driveller and a show.
Jackson doesn't bother to read the scripts anymore. He just checks to make sure he has one loud scene where he gets to shout, then cashes the paycheck.
Ryan Reynolds and I can be doing a scene facing the camera and somehow our back and forth and our rhythm, we know when to stop and when to volley, when to make the sound. It's like music.
The 'wandering studio' gathers and stores experiences, takes chances with the unfamiliar and requires a measure of self-trust. Mistakes are part of the change of scene.
I love when people improvise as long as they're great improvisers, what I mean by that is people can improvise within their characters and within the scene.
This s - t [smoked on scenes] called Wizard Smoke. I didn't like it. [James] Franco didn't have that hard of a time with it. Franco will smoke anything.
To me, always just - that scene is, like, so convenient. They never run out of bullets in action movies, unless it's at the most dramatic time possible.
You have a pre-conceived notion of what you want the scene to be, but once you get there, that goes out the window and it turns out to be a way that you never imagined.
In junior high in Germany I fought kids all the time. I had such a bad temper, I almost got thrown out of school. A few lickings from my dad got me out of that scene. He wore me out with a paddle.