Scene Quotes - Page 36

• 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

  Home, Doors, Office

  David Sedaris (2000). “Me talk pretty one day”

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• The jostling of young minds against each other has this wonderful attribute, that one can never foresee the spark, nor predict the flash. What will spring up in a moment? Nobody knows.

  Victor Hugo

  Laughter, Spring, Doors

  "Les misérables".

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• Well, in that hit you miss. She'll not be hit With Cupid's arrow. She hath Dian's wit, And, in strong proff of chastity well armed, From Love's weak childish bow she lives uncharmed. She will not stay the siege of loving terms, Nor bide th' encounter of assailing eyes, Nor ope her lap to saint-seducing gold. O, she is rich in beauty; only poor That, when she dies, with dies her store. Act 1,Scene 1, lines 180-197

  William Shakespeare

  Strong, Eye, Arrows

  William Shakespeare (2000). “Romeo and Juliet”, Oxford University Press on Demand

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• 'De nada,' replied Gregorius. The Portuguese couple sat down, the train went on. Gregorius was never to forget this scene. They were his first Portuguese words in the real world and they worked. That words could cause something in the world, make someone move or stop, laugh or cry: even as a child he had found it extraordinary and it had never stopped impressing him.

  Pascal Mercier

  Morning, Children, Real

  "Night Train To Lisbon".

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• She had no tolerance for scenes which were not of her own making.

  Edith Wharton

  Tolerance, Mirth

  Edith Wharton (2015). “The House of Mirth”, p.32, Xist Publishing

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• This scene may disturb you, so you have to pay attention.

  Zane

  Attention, May, Pay

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• Those five fingers and that palm were like a display case crammed full of everything I wanted to know--and everything I had to know. By taking my hand, she showed me what these things were. That within the real world, a place like this existed. In the space of those ten seconds I became I tiny bird, fluttering in the air, the wind rushing by. From high in the sky I could see a scene far away. It was so far off I couldn't make it out clearly, yet something was there, and I knew that someday I would travel to that place.

  Haruki Murakami

  Real, Air, Hands

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• Noticing and remembering everything would trap bright scenes to light and fill the blank and darkening past which was already piling up behind me. The growing size of that blank and ever-darkening past frightened me; it loomed beside me like a hole in the air and battened on scraps of my life I failed to claim. If one day I forgot to notice my life, and be damned grateful for it, the blank cave would suck me up entire.

  Annie Dillard

  Grateful, Past, Light

  "An American Childhood". Book by Annie Dillard, www.huffingtonpost.com. 2009.

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• They sat it "Rains Blood" at scenes of battle... you truly...make blood rain

  Nobuhiro Watsuki

  Rain, Blood, Battle

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• Everybody has their own America, and then they have pieces of a fantasy America that they think is out there but they can't see. So the fantasy corners of America seem so atmospheric because you 've pieced them together from scenes in movies and music and lines from books.

  Andy Warhol

  Dream, Art, Real

  "Andy Warhol: a retrospective".

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• Nature is not always tricked in holiday attire, but the same scene which yesterday breathed perfume and glittered as for the frolic of the nymphs, is overspread with melancholy today. Nature always wears the colors of the spirit.

  Ralph Waldo Emerson

  Nature, Holiday, Nymphs

  Ralph Waldo Emerson, Robert Ernest Spiller, Alfred Riggs Ferguson, Joseph Slater, Jean Ferguson Carr (1971). “The Collected Works of Ralph Waldo Emerson: Nature, addresses, and lectures”, p.10, Harvard University Press

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• ...the long train ride was like traveling through limbo. You weren't anywhere when you were on a train, she decided. You weren't where you had been, and you weren't yet where you were going. You were nowhere. It might be beautiful outside the window-and it was, she had sense enough to realize that-but it wasn't anywhere to her, just a scene passing by that was framed by the train window. (p160)

  Katherine Paterson

  Beautiful, Passing By, Long

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• The people who move through the streets are all strangers. At each encounter, they imagine a thousand things about one another; meetings which could take place between them, conversations, surprises, caresses, bites. But no one greets anyone; eyes lock for a second, then dart away, seeking other eyes, never stopping...something runs among them, an exchange of glances like lines that connect one figure with another and draw arrows, stars, triangles, until all combinations are used up in a moment, and other characters come on to the scene.

  Italo Calvino

  Running, Stars, Moving

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• A lover goes toward his beloved as enthusiastically as a schoolboy leaving his books, but when he leaves his girlfriend, he feels as miserable as the schoolboy on his way to school. (Act 2, scene 2)

  William Shakespeare

  Girlfriend, Book, School

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• Bend down, bend down. Excess is the only ease, so bend. The sun is in the tree. Put your mouth on mine. Bend down beam & slash, for Dread is dreamed-up-scenes of what comes after death. Is being fled from what bends down in pain. The elbow bends in the brain, lifts the cup. The worst is yet to dream you up, so bend down the intrigue you dreamed. Flee the hayneedle in the brain's tree. Excess allures by leaps. Stars burn clean. Oriole bitches and gleams. Dread is the fear of being less forever. So bend. Bend down and kiss what you see.

  Stan Rice

  Dream, Stars, Pain

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• It has been said that Ernest Hemingway would rewrite scenes until they pleased him, often thirty or forty times. Hemingway, critics claimed, was a genius. Was it his genius that drove him to work hard, or was it hard work that resulted in works of genius?

  James N. Frey

  Hard Work, Genius, Thirty

  James N. Frey (2010). “How to Write a Damn Good Novel: A Step-by-Step No Nonsense Guide to Dramatic Storytelling”, p.160, Macmillan

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• Two households, both alike in dignity In fair Verona, where we lay our scene From ancient grudge break to new mutiny Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross'd lovers take their life Whose misadventured piteous overthrows Do with their death bury their parents' strife.

  William Shakespeare

  Stars, Blood, Hands

  William Shakespeare, James Boswell, Alexander Pope, Edward Capell, Samuel Johnson (1821). “The plays and poems of William Shakspeare”, p.5

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• At least Lester had the decency to weep at his act of perfidy. Reader, do you know what 'perfidy' means? I have a feeling you do, based on the scene that unfolded here. But you should look up the word in your dictionary, just to be sure.

  Kate DiCamillo

  Mean, Feelings, Looks

  Kate DiCamillo (2013). “The Essential Kate DiCamillo Collection”, Candlewick Press

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• When an actor plays a scene exactly the way a director orders, it isn't acting. It's following instructions. Anyone with the physical qualifications can do that. So the director's task is just that – to direct, to point the way. Then the actor takes over. And he must be allowed the space, the freedom to express himself in the role. Without that space, an actor is no more than an unthinking robot with a chest-full of push-buttons.

  James Dean

  Following Instructions, Order, Play

  Biography/Personal Quotes, www.imdb.com.

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• It is the same in life: sometimes it is more difficult to make a scene than to die.

  Graham Greene

  Sometimes, Difficult, Dies

  Graham Greene (1973). “The Collected Edition: The ministry of fear”

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• ...like a scene from the swamps of Louisiana or the mind of Poe on opium.

  Dean Koontz

  Mind, Louisiana, Swamps

  Dean Koontz (2007). “The Taking: A Novel”, p.180, Bantam

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• Directors are always changing things at the last minute. Actors will do a scene, and the director will say, ‘Okay, that was perfect, but this time, Bob, instead of saying “What’s for dinner?” you say, “Wait a minute! Benzene is actually a hydrocarbon!” And say it with a Norwegian accent. Also, we think maybe your character should have no arms.

  Dave Barry

  Character, Thinking, Should Have

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• Sundown, yellow moon, I replay the past I know every scene by heart, they all went by so fast

  Bob Dylan

  Heart, Past, Moon

  Song: If You See Her, Say Hello, 1975

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• Faith—is the Pierless Bridge Supporting what We see Unto the Scene that We do not— Too slender for the eye It bears the Soul as bold As it were rocked in Steel With Arms of Steel at either side— It joins—behind the Veil To what, could We presume The Bridge would cease to be To Our far, vacillating Feet A first Necessity.

  Emily Dickinson

  Eye, Bridges, Feet

  Emily Dickinson (2013). “Delphi Complete Works of Emily Dickinson (Illustrated)”, p.1189, Delphi Classics

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• If our impulses were confined to hunger, thirst, and desire, we might be nearly free; but now we are moved by every wind that blows and a chance word or scene that that word may convey to us.

  Mary Wollstonecraft Shelley

  Blow, Wind, Desire

  Mary Wollstonecraft Shelley (1823). “Frankenstein: ; Or, The Modern Prometheus”, p.201, DOSER Reads

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