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Scene Quotes

“I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.”

“You need great actors in this one, because there are moments where there's no way to get around it, you just need to come up with it. They have no time; they can't help you with coaches: "We've got to have it now!" Whether it's tears, whether it's a five-page scene. You can't put it off tomorrow because we're already behind; you've got to have it. I'm just amazed at the casting and how wonderful everybody was.”

“All the scenes that have to do with the fact that, at the end of the day, we're all engaged - hopefully some of us - in certain causes and ideals and certain ways of living, but we're human, and we're making all these mistakes, and we're caught in particular systems - whatever it is - but ultimately, there's a price paid by the people that are closest to you.”

“I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.”

“I love to ride horses. I've ridden since I was a kid so I got to do some riding, which was a lot of fun. But most of the stunts were left to the girls. It's the girls rescuing the guys mostly. So it was kind of really kick-ass, girl power. It was wonderful to watch. It was particularly sexy. They would come in and just slay in these choreographed pentagram of death fight scenes. It was pretty impressive.”

“I think a lot of the production process is always giving yourself, like what I call like escape routes, like, if this scene doesn't play, if we realize we've had too many dirty scenes in a row, and it's like, because you don't have the luxury when you're in the middle of shooting, to see how these scenes play all in a row, kind of, you know what I mean. So, like we're always trying to like have insurance policies on, ok, if that doesn't work, we can just jump to this thing.”

“In one way, it is this sense of order and also love that, I think, really saved Eleanor Roosevelt's life. And in her own writing, she's very warm about her grandmother, even though, if you look at contemporary accounts, they're accounts of horror at the Dickensian scene that Tivoli represents: bleak and drear and dark and unhappy. But Eleanor Roosevelt in her own writings is not very unhappy about Tivoli.”

“Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.”

“The first scene I ever appeared in, it was the first scene I ever shot [during my] first day on set. I walk up to my mom with a plastic bag over my head and she says that her clothes better not be on the floor, not that a plastic bag is not a safety hazard or anything. I think it's a really cute scene and also just a very vivid memory.”

“Nina Simone was a gifted and prolific singer, songwriter and pianist who became a powerful presence in the civil rights movement and paid a professional price for it. Behind the scenes, she struggled in a fractious, sometimes violent relationship with her husband and manager and with mental health issues that strained other relationships, including with her only daughter.”

“John Lewis is such a remarkable human being. Literally, such a beautiful human being. I remember the first time I met him. We were in the middle of a scene and [Selma director] Ava DuVernay calls, "Cut," and then he literally just came in. He just came walking in.I just froze. I can't explain the feeling. Seeing somebody who was literally a living hero. He was a hero.”