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Scene Quotes

“What I mean by living to one's-self is living in the world, as in it, not of it: it is as if no one know there was such a person, and you wished no one to know it: it is to be a silent spectator of the mighty scene of things, not an object of attention or curiosity in it; to take a thoughtful, anxious interest in what is passing in the world, but not to feel the slightest inclination to make or meddle with it.”

“Not long ago, if you wanted to seize political power in a country you had merely to control the army and the police. Today it is only in the most backward countries that fascist generals, in carrying out a coup d'état, still use tanks. If a country has reached a high degree of industrialization the whole scene changes.... Today a country belongs to the person who controls communications.”

“Imagine that someone said or did something cruel to you, but that you did not react in any way whatsoever – you did not become upset, resentful or even ruffled. You simply observed that this person was saying or doing something cruel, as though you were calmly observing the scene in a movie. You simply would not be stressed by what would appear to others to be a highly stressful encounter. Stress and cruelty affect us as profoundly as they do only because we react to them resentfully.”

“Erasmus dramatizes a well-established political position: that of the fool who claims license to criticize all and sundry without reprisal, since his madness defines him as not fully a person and therefore not a political being with political desires and ambitions. The Praise of Folly, therefore sketches the possibility of a position for the critic of the scene of political rivalry, a position not simply impartial between the rivals but also, by self-definition, off the stage of rivalry altogether.”

“A lot of times, writers are told write as big as you can, and that's not untrue. But at times I think it's better to write as small as you can, to start scenes with little personal details or people who are doing average every day human things. That, to me, lets the average reader into that person's life. "Yeah I eat breakfast. I take a shower."”

“Acting is a challenge at times. I mean, when you have scenes where you're jumping into a mascot bear to travel back in time, and you try to make that seem real. For me, I'm a person that has a pretty wild imagination, just kind of letting that run wild and sort of just doing the best you can to not feel stupid.”

“I usually cast myself in things because acting is how I best relate to artistic impulses. It's what I've wanted to do since I was a child, so a scene usually plays itself out in my head with me performing it. And if I cast myself that's one less person I have to pay, one less person I have to explain my vision to, one less person I have to worry about.”

“Yanagihara's most impressive trick is the way she glides from scenes filled with those terrifying hyenas to moments of epiphany. 'Wasn't it a miracle to have survived the unsurvivable? Wasn't friendship its own miracle, the finding of another person who made the entire lonely world seem somehow less lonely? Wasn't this house, this beauty, this comfort, this life a miracle?' A Little Life devotes itself to answering those questions, and is, in its own dark way, a miracle.”

“In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.”

“It's very difficult to find the time or the money for people to organize rehearsals for some movies. It staggers me how little preparation often goes into these scenes which are difficult and complicated. You think, "God, it's crazy. I've never met this person before and here I am having to work at how to do a whole performance on the set." It was great to have a few days of just talking to Michael [Caine] and Daniel [Barber] and thinking about the characters and the relationship between them before we started shooting.”

“Once a person has taken their life, in the inner realms, the suicide will repeat automatically the feelings of despair and fear which preceded his self murder, and go through the act and the death struggle time after time with ghastly persistence... They remain conscious - often entangled in the final scene of the earth life for a very long time, unaware that they have lost the physical body.”

“Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.”

“My mom had a Canon AE1 camera and I read the manual and that's basically how I became a photographer. I was in the Baltimore punk scene. I knew it was a special time, so I went out and documented that whole era. I was the only person to really do it of my friends in real black and white, beautiful portraits.”

“There's this exhausting energy from you getting your lines out and your words right, especially if it's a complicated scene. And as soon as the camera is off you and goes on the other person, you're talking garbled garbage and you feel so sorry for them because you've lost the will to live, after 18 hours of saying those lines. That's terribly unfair. So, I do love the quick-paced nature of it.”

“When I started out as an actor, I thought, Here's what I have to say; how shall I say it? I began to understand that what I do in the scene is not as important as what happens between me and the other person. And listening is what lets it happen. It's almost always the other person who causes you to say what you say next. You don't have to figure out how you'll say it. You have to listen so simply, so innocently, that the other person brings about a change in you that makes you say it and informs the way you say it.”

“Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.”

“The term biodynamics - push it aside, it is verbosity. It doesn't matter a bit. One has to use words to make headings, that's all it is. It's rather like the stupidity in a picture gallery today where you have to write under it what the scene or person is. It is equally as nonsensical as that. Therefore to talk about biodynamic gardening, biodynamic horticulture, biodynamic agriculture and the French intensive system is merely a horrible heading of terminology.”

“Any story has a beginning, middle, and end, of course, but the question is, where do you start it exactly? It's about a guy who is murdered in a fistfight, but how does it evolve and what does it mean? That's what I discovered scene by scene, and this innovation of coming in as a first-person narrator was a complete surprise to me. It just happened.”

“When I went to do my big audition with actors for Mr. Blonde, the thing that was very interesting was the first person to actually do the audition with the song, and they kind of actually acted out the whole scene, they weren't so great. It wasn't that they were magnificent, but the song, it was the first -it was all - been in my head.”