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Scene Quotes

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Scene Quotes

“My fans - I hate the word fans...my supporters - it's an international following that isn't from being in London and existing on the "scene." It came from being on the Internet, from being a teenager communicating with different artists, showing who I am, who KESH is, as well as connecting with other people around the world doing similar things.”

“So many of my memories are generated by and organized around food: what I ate, what people cooked, what I cooked, what I ordered in a restaurant. My mental palate is also inextricably intertwined with the verbal part of my brain. Food, words, memories all twist together, so it was the obvious way to structure my life. Each memory of food opened up an entire scene for me, it was the key that unlocked everything.”

“When you reflect upon the significance of Dr. King to this nation, it's criminal that he hasn't had a feature film that was centered around him until now. That, in and of itself, was emotional. But when you're doing scenes on the Edmund Pettus Bridge, with people still living in Selma and now in their 60s and 70s who had actually marched, who were there that original Bloody Sunday, that's humbling... that's deeply moving. You're no longer acting at that stage, you're just reacting, because it takes the filmmaking process to another dimension.”

“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.”

“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.”

“I really like the Chris-R scene and of course the "you are tearing me apart Lisa" scene. The reason I love the Chris-R scene is because we worked really hard to finish it. It's not just that though, it brings people together. Everyone is one the roof together by the end of the scene. You see the perspectives of the different characters. I feel like with all the connections in this scene that the room connects the entire world”

“The U.S. is telling the Northern Alliance to kill Taliban prisoners. It's totally a breach of all the known conventions of war. Western television networks aren't showing this, but Arab networks are showing how prisoners are being killed and what's being done to them. Instead, we're shown scenes that are deliberately created for the Western media: a few women without the veil, a woman reading the news on Kabul television, and 150 people cheering.”

“We were in front of a live audience and I would be acting with the man who was playing my lover, and we used those words, and the audience would titter and laugh, and make me uncomfortable doing the scenes. ... I wanted to sort of stop and yell at them, "What's so funny? What's the matter with you people? Grow up!" It made me very self-conscious at times.”

“When you're the guy behind the camera, you're aware of the reasons for the compromises or the changes that get made. As an actor, you go and do your thing, and someone else down the line then does all the math and goes, "We can't include that thing where he's pretending to be dumb and needling those people, because it takes a minute and a half, and it ruins the next scene. It doesn't make sense." If you're directing, you're the one doing that.”

“When I'm taking the subway to my improv shows I will be writing in my notebook different actions that I see people doing on the train whether it's eating yogurt or looking at where their stop is, or tripping or holding a baby. It's not preparing scenes and ideas as much as it is stoking your brain to think observantly. Just to place observations in your head, so that they are available somewhere.”

“We did monologues and scenes, and New York I did a scene from Amadeus and a monologue from Pounding Nails in the Floor With My Forehead by Eric Bogosian, and then in L.A. I switched the scene to This is Our Youth and did the same monologue. I was spiky-haired, super skinny. A lot of people were like, "You should come here and do a sitcom." That was the feedback that I got. Obviously it was quite a different journey than the one I've actually had, but I just listened to people.”

“In the texts, and as His Holiness the Dalai Lama reminds us, we should check the person's behavior not when they're sitting on a big throne, but behind the scenes. How do they treat ordinary people - not the big sponsors - but just ordinary people who are of no particular importance to them.”

“Back in Kansas City, I associated Harvard with sort of gnarly guys who wore capes for effect in a kind of Oscar Wilde scene. Even though I also knew there was such a thing as the Harvard-Yale game, I was still a little surprised that Harvard had a football team. I just assumed if there were such a thing as gay people, that they were nothing like us. Little did I know that probably half the swim team at Yale was gay.”

“Any music star would be singing about his lost love. A movie would be about a relatable incident; it wasn't an untouchable magic dragon box. It was something that people could relate to, and when I vanished a girl, it would be a story about a girl that left me, or a cutting into pieces would be a date with a magician. I wouldn't just vanish a girl in a shower, I would do the shower scene from Psycho [1960] with a [Alfred] Hitchcock cameo.”

“I reject totally the characterization of a transwoman as a mutilated man. First, that formulation presumes that men born into that sex assignment are not mutilated. Second, it once again sets up the feminist as the prosecutor of trans people. If there is any mutilation going on in this scene, it is being done by the feminist police force who rejects the lived embodiment of transwomen. That very accusation is a form of "mutilation" as is all transphobic discourse such as these.”

“It's true that I don't think I'd be a good director. If I were a director, I'd try to hire the best people I could and then leave them alone. I don't know much about cameras or lighting, so I'd make sure that I had a really good cameraman who understood lenses and lighting, and I say to him, "This is the scene we have to shoot and this is what I think it should be, you go do it." Same with actors. But really, very good directors who know everything do basically the same thing. They hire you and then they leave you alone.”

“I see no reason to believe that the Vietnamese Communist Party will lose control over the reins of power in Vietnam. There is no organized force in the country that is capable of competing with the VCP for power. And the party still believes that it must rule by intimidation and by dominating the political scene In effect, it has abandoned that part of Ho Chi Minh's legacy that the people must be won over by persuasion rather than by force - a dictum that Ho Chi Minh did not always follow himself.”

“It's an art installation to put out a collection, with the people behind the scenes who are inventing and creating these designs and making sure they're realized on the catwalk, and just how much hangs on it for the designers. Their livelihoods hang in the balance, as far as whether this year's collection works for them or not, and there are so many people's jobs on the line, as a result of that. I just had no idea.”