Top 100 Scene You Quotes
#1. In some ways any film that you do has an artificiality about it. Even when you're doing the most kitchen-sinky, gritty, realistic scene you've still got 50 people standing around watching you with cameras and lights and things.
Michael Sheen
#2. If you don't like the scene you're in, if you're unhappy, if you're lonely, if you don't feel that things are happening, change your scene. Paint a new backdrop.
Leo Buscaglia
#3. I like the fact that by mimicking the way memory works, a writer can actually write in a fluid way - one solid scene doesn't have to fall on another solid scene, you can just have a fragment that then dovetails into another one that took place 30 years apart from it.
Kazuo Ishiguro
#4. In films you do a scene, you play around with it and unless you're doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.
Willem Dafoe
#5. Manhattan scene - you are surrounded and yet you find solace; you find isolation in the tornado of people.
Harlan Coben
#6. Soup simmering, music of idle gossip, yammering kids, domestic chaos - long adjusted to this rolling scene, you show them your lofty calm.
Gottfried Keller
#7. Pixar has been compared to fine furniture makers who polish the backs of drawers - even if you don't see everything in a particular scene, you still feel that every little detail has been met.
John Lasseter
#8. Every scene you will ever act begins in the middle, and it is up to you, the actor, to provide what comes before.
Michael Shurtleff
#9. The good thing about having chemistry is, when you get to the improv section of a scene, you've got somebody to feed off. It can go on and on and on, and the sky's the limit.
Kevin Hart
#10. Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
James Norton
#11. I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.
Harmony Korine
#12. I like finding stuff that I suck at and trying to get better. So I'm taking classes, getting myself comfortable in an acting scene. You've got to work out those ticks. For instance, standing up used to be really hard for me. I act much better if I'm sitting down.
Bill Burr
#13. I think if you play music and you join a scene you're already too late.
Josh Homme
#14. I love not feeling this hydraulic pressure that you have to create this comic moment within every scene. You can just play it as it is.
Donal Logue
#15. I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling.
Oliver Stone
#16. These were all middle-class kids from literary backgrounds, joining this sort of train going by, this pop train, jumping on. Whereas the rest of the rock scene, you'll find that there's mostly working-class people.
Kevin Ayers
#17. [While voicing] you have to create a feeling for what happened before a scene, what's going to happen after a scene, and what you are doing in a scene. You need to use your imagination even more and once your emotions are up, then your voice and expressions will go accordingly.
James Hong
#18. It's a weird scene. You win a few baseball games and all of a sudden you're surrounded by reporters and TV men with cameras asking you about Vietnam and race relations.
Vida Blue
#19. The main thing about improvising is listening so if something happens that wasn't expected and you know your character, you know what has to happen in this scene, you can react to that in a way that's honest and it might take you in a different direction to go to the same place.
Vince Vaughn
#20. Even when you're acting with a producing hat, when you're in every scene, you're really conscious of trying to make everybody as good as they are, because ultimately you're trying to make the best movie possible.
Michael Douglas
#21. In Hollywood, you've got a hundred people on set, and shooting the sex scene you're wearing nude-toned underwear and tape on your nipples. Nothing is going beyond where you want it to go.
Lena Dunham
#22. Try drawing or painting a scene you're working on. Often this will help free up you imagination.
Kevin Henkes
#23. There was no Delete button to help you erase an awkward scene. You couldn't hit Backspace to get rid of all the rubbishy bits. You had to live with the decisions you made.
Victoria Connelly
#24. Those scenes on the beach on 'Lost' were so much fun. When it was a whole group scene, you'd just pop in with a line here and a line there, and there was a little activity, and you essentially spend the day with your friends on the beach. What an amazing working environment.
Nestor Carbonell
#25. If you think you are beautiful in a scene, you will come across as beautiful. I don't think looks are important; I think what's important is if someone is sexy.
Helen McCrory
#26. Unlike the close-knit, DIY queer scene you were once at the center of in San Francisco, the queer scene in LA can feel like everything else in LA: partitioned by traffic and freeways, oppressively cliquish and bewilderingly diffuse at the same time, hard to fathom, to see.
Maggie Nelson
#27. Sometimes I think to get to the emotional level of a scene, you don't necessarily have to have experienced the exact thing that person has experienced, but whatever you have in your life that has gotten you to that place is usually enough.
Judy Greer
#28. When you're doing a play and you're afraid of a scene, that's the scene you should embrace, because that's the scene that will tell you something about the play.
Raul Esparza
#29. So pathetic," he said, with a grunt. "So sad. Such a cliche. You can be so fond of cinema, of world literature, the classics, but then, when you find yourself playing out a classic scene, you don't feel ennobled, linked to that greatness. You feel...pathetic.
David Cronenberg
#30. I had to be naked [in Vinyl], but I was almost more nervous about having to be drunk. The director wasn't going to yell, "Too big!," during the nude scene. For the drunk scene, you can be bad drunk or good drunk. We'll see. My wife was not happy, hearing about it.
Ray Romano
#31. You have to learn how to act a pop song. You have to find the balance of the pop from the pop song and the lyrical significance of the scene you are in.
Aaron Lazar
#32. The trick is after a workout you're supposed to have gummy bears or some candy to get your veins to stick out. Of course, it's all about protein, too, but right before you're filming a shirtless scene, you have a little bit of sugar to pop the veins.
Colton Haynes
#33. In movies, you don't get reactions: Live, when you do a joke, you know in a second whether it's good or bad. But in a movie, since no one is allowed to laugh or do anything, when you're done with a scene, you're left asking, 'Was that funny?'
Carrot Top
#34. If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.
Robert De Niro
#35. I think back story can help guide your choices, but when you're playing a scene, you're not making choices; you're just intuitive.
Willem Dafoe
#36. I don't know Gov. Palin. I've certainly seen her, since she came on the scene, you know, running with John McCain.
Linda McMahon
#37. I guess the difference between the Korean hip-hop scene and the American hip-hop scene is that in the American hip-hop scene, you know, they have their Jay-Zs. They can become conglomerates through hip-hop. In Korea, it doesn't happen.
Tablo
#38. The frustrating part of being a movie actor is waiting in your trailer to do two takes of a scene you've prepared for two months.
Jesse Eisenberg
#39. Never sit staring at a blank page or screen. If you find yourself stuck, write. Write about the scene you're trying to write. Writing about is easier than writing, and chances are, it will give you your way in.
Laini Taylor
#40. wider scene, you can flip the camera to the portrait style and
Albert Peters
#41. I hate when you see a film and after one scene you know what's going to happen and you can predict the whole story.
Noomi Rapace
#42. When you're in that scene, you really wonder if this is all you're ever going to be. You know how vile and filthy you are inside.
Willie Aames
#43. When you're acting in a scene, you're focused on doing the scene. You can't break character and go, 'Oh my God, I love what you're doing!'
Melissa McBride
#44. For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they'll do in any scene you put them in.
Justin Zackham
#45. And when I first started writing, it was literally in acting classes. And what would happen is now it's really easy to get scripts and stuff but back then, you know, oftentimes you'd buy the novelization to a movie if you wanted to get an idea of what the scene, you know what happened in the scene.
Quentin Tarantino
#46. New York City park bathrooms feel like a crime scene. You are always expecting to see yellow police tape and a chalk-outlined body.
Jim Gaffigan
#47. Onstage, even though you're here together with the other actor, face-to-face, playing out the scene, you also have that other ear pointed out toward the audience and how they're listening. That informs a lot.
Uzo Aduba
#48. Every time you do a take on a movie, you're not sure if it's going to succeed. Even if you have a great cast, like we had, every scene you're kind of waiting for the release. 'Oh, yes; it happened. We got it!' There's always the possibility that it's just not going to work.
Wes Anderson
#49. I just never want to be in this situation where I get to set and they're like, 'We rewrote this scene, you're now naked.' I need a little prep work.
Max Greenfield
#50. There's often rarely any dialogue in a sex scene. With your fellow actor, it's good to talk about what the unspoken dialogue is, that's happening in the scene. You've got to play something rather than feel self-conscious or exposed.
Geoffrey Rush
#51. You're over there in the corner either thinking about the dead dog or whatever, you're bringing up your personal life and you need the space, and then somebody throws you a joke. Especially if it's an emotional scene, you don't want the joke.
Marcia Gay Harden
#52. Imagine trying to relive your worst break-up, your worst fight, the most painful death of a loved one, and just really relive it step by step, and bring it up and apply it to the scene you're in.
Eli Roth
#53. For me in a film, almost every scene you end up cutting a bit of the start of it out, and some of the end of it out because there's always ... once you've rehearsed it and shot it, it feels like a couple of times and you can always get out sooner.
Brian Helgeland
#54. I'd like to think that I don't have a stock character that I go to. I'm lucky in that when you get to initiate your own scene, you get to play whoever you want. That's really kind of cool, but all my characters are short. I look on the videotape, and I thought they were taller, but they're all 5'2.
Amy Poehler
#55. You get to keep acting on the feelings you had just moments before. You don't have to psych yourself up for the scene. You can just go off what you were already feeling.
Taissa Farmiga
#56. You know, you're never going to be late for a scene - the scene you're designed to be in.
Art Hochberg
#57. With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.
Conrad Hall
#58. I think with animation there's a certain freedom that you're given. You don't have a thought at the back of your mind, that worry that you'll have to cut and go back to the top of the scene. You're not working with anyone else from the cast. It's just you.
Ryan Potter
#59. Every time you get a script and you have a scene, you start mining out how many layers there are within it.
Linus Roache
#60. When I'm creating a character, it's a little bit like what my theater teachers used to tell me about Stanislavsky, like if you're using sense memory to do a scene - if you have to cry in a scene, you try to remember something in your life that made you cry and you use that in order to get the tears.
Jeffrey Eugenides
#61. If in the sex scene you happen to be naked in front of a lot of other people you've just got to put that aside, in the same way that you have to put that aside in a fully-clothed intense dialogue scene because you're entering into that particular imaginative state of play.
Geoffrey Rush
#62. He made his play for you last night, shoulda known, you on the scene, you'd catch his eye. I heard. I lost it. Was pissed at him, took it out on you. Babe, I get pissed, I do it a lot, that'll happen.
Kristen Ashley
#63. What I don't like is when I see stuff that I know has had a lot of improv done or is playing around where there's no purpose to the scene other than to just be funny. What you don't want is funny scene, funny scene, funny scene, and now here's the epiphany scene and then the movie's over.
Paul Feig
#64. Performing on stage is my first love - it's why I wanted to be an actor in the first place - and 'Arcadia' is the highlight of my career so far. I love the intimacy of a live theatre audience - you can really squeeze every last drop out of each scene.
Tom Riley
#65. Whenever there's a nude scene, it's always uneasy. You're not in the comfort of your own home with your significant other.
Laura Prepon
#66. If you're filming a scene on horseback, if you're trying to control an animal that's much larger than you and trying to get it to do the exact same thing so you can match things up, that can get tricky, especially if the horse gets tired or angry or something.
Daniel Portman
#67. I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene. It's not a movie-by-movie or a part-by-part basis. It's a day-by-day thing, and sometimes an hour-by-hour thing.
Thomas Jane
#68. Imagine yourself in the scene. See what there is to be seen. Listen to the sounds. Touch the world. Smell the air. Taste it. Use all of your senses. Then evoke those experiences for the reader. If you give the audience the flavor, they'll flesh out the moment in their own imaginations.
David Gerrold
#69. I've gotten very good at scheduling my life, scheduling the scene and preparing myself for knowing, saving the energy, consuming the energy, knowing when to go for it and having the available reserves to be able to do that. You have to think about that, because it's endurance.
Tom Cruise
#70. I can't tell you how much we laughed on the set to have Alec Guinness in a scene with a big, furry dog that's flying a space ship.
Mark Hamill
#71. Also, there are seats in the diner that always fall off the table. If you have a scene where you're packing up at the end of the day and putting them on the table, they just slide off.
Dannii Minogue
#72. Your ghost,' she said, 'Nicholas Nickleby. Do you think he might still be at the crime scene?' 'How should I know?' I said. 'I don't even believe in ghosts.
Ben Aaronovitch
#73. You have all the scenes. Just go home and word it in.
Samuel Goldwyn
#74. Sometimes the scene is a sad scene but you have to play it with a laugh to find out that that doesn't work or that there's really a part of that in it, and that's what rehearsal is for, to take that time.
William Fichtner
#75. If you watch a movie, it never happens that you see a character that is in every single scene.
Patrick Huard
#76. You can't create a movie as you think about it. And what's in the scene is not what's being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I'm not going to intervene.
Bruno Dumont
#77. The title always comes last. What I really work hard on is the beginning. Where do you begin? In what tone do you begin? I almost have to have a scene in my mind.
David McCullough
#78. The fool doth think he is wise, yet it is the wise man that knows himself to be the fool As You Like It, Act 5, Scene 1
Stephen Fry
#79. I love when you get to work with people you know because there's so much more trust, and you're much more willing to be vulnerable in a scene with someone you trust.
Malin Akerman
#80. I'd have conversations with the camera crew about what was going on in the scene, so that they were prepared to shoot it. I love the fact that when you work, you create this tribe.
Susan Sarandon
#81. If you give a scene enough room to breathe, actors will hopefully find those magical moments.
Greg Bryk
#82. We're standing here, beat to shit, walking away from a crime scene where either or both of us could have bought it, and you're asking me to marry you?"
"Perfect timing.
J.D. Robb
#83. There are some people who love being a something, but I also got the gist in the 60's when I grew up that you could be, in the art scene, very diverse.
Charlemagne Palestine
#84. My mother had been an actress and we came from that world in New York, the theater world and the downtown sort of theater scene, and so I guess we didn't really have what you'd call like a Hollywood kind of life at all.
Martha Plimpton
#85. Swing is so much more than a dance, it's a way of life. The music gets stuck in your mind and the dance is in your heart and the whole scene is engraved on your soul. You can fly.
Nicholas Hope
#87. In live action, you go scene by scene, but in voice over you go line by line. In voice over you do a lot more takes.
Joshua Rush
#88. My favorite scene in all of movies is Gregory Peck in 'To Kill A Mockingbird': You see him where he's on the porch, and his face is almost completely obscured. I don't want to see his face.
Mary-Louise Parker
#89. Did you ever leave a scene and wonder, "What was that all about?
Art Hochberg
#90. Rewriting isn't just about dialogue; it's the order of the scenes, how you finish a scene, how you get into a scene.
Tom Stoppard
#91. You have too much social influence upon you. You are not going by your own nature. People do so many nonsensical life-negative things because they don't want to be left out of the scene around them.
Jaggi Vasudev
#92. 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.
Richard Masur
#93. I got into shape because I took kick-boxing lessons every day to prepare for a fight scene with Taylor Lautner. I really wanted to lie down and eat Chinese food, but I kick-boxed every morning and ran. If someone was filming you with your kit off, you'd do the same thing.
Jason Isaacs
#94. The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.
John Rhys-Davies
#95. Becoming a fashion designer is agreeing with the fact that what you experience or what you see as free is also connected to a system. Does that mean giving up your freedom? I still don't know the answer. There's a very different kind of psychology going on in the fashion scene than in art.
Raf Simons
#96. You can't just enter scene like that and disappear.
Rae Hachton
#97. It's hard to get lost in a scene, to get into a character when everyone's standing around you on the set.
Kirsten Dunst
#98. Anyone who watches even the slightest amount of TV is familiar with the scene: An agent knocks on the door of some seemingly ordinary home or office. The door opens, and the person holding the knob is asked to identify himself. The agent then says, I'm going to ask you to come with me.
David Sedaris
#99. I missed talking to you, and playing with you, and touching you, and seeing you smile. I missed just ... sitting next to you. I've never missed anyone or anything that much
Mila Ferrera
#100. In a scene [where the improvisers must interact] without the letter S, the audience is waiting for you to lose - so they can laugh at you. Don't try to win.
Keith Johnstone
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