Tom Arnold and I, we have a huge firefight scene on top of a German tank. I get to shoot 50 caliber rounds. We shoot a helicopter out of the sky. That's the only fight I'm in.
This is Halloween, everybody make a scene Trick or treat till the neighbors gonna die of fright It's our town, everybody scream In this town of Halloween.
He nothing common did, or mean, / Upon that memorable scene, / But with his keener eye / The axe's edge did try.
There was one very special scene at the end of the film. My character, Zhao Di, has been sick. She wakes up and her mother tells her that the man she loves has come back from the city and had spent the day by her bedside.
It is desperately important to remember when enough is enough, when you've finished the scene.
Any time two characters are talking about a third, the scene is a crock of s***.
Don't rush or force the ending. All you have to know is the next scene, or the next few scenes.
The purpose of the painter is simply to reproduce in other minds the impression which a scene has made upon him. A work of art does not appeal to the intellect. It does not appeal to the moral sense. Its aim is to instruct, not to edify, but to awaken an emotion.
It's not brave to do something that doesn't scare you. Performing in sex scenes that I direct, exposing a flash of my weird puffy nipple, those things don't fall into my zone of terror.
Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
Seattle’s Moraine not only make Washington State proud, but also the whole American progressive music scene joyful. ... It’s simply an impressive dead on eleven song tour de force. ... GET THIS! Highly Recommended!
McEwan's Atonement…truly dazzles, proving to be as much about the art and morality of writing as it is about the past…. The middle section of Atonement, the two vividly realized set pieces of Robbie's trek to the Channel and Briony's experiences with the wounded evacuees of Dunkirk, would alone have made an outstanding novel…. There is wonderful writing throughout as McEwan weaves his many themes — the accidents of contingency, the sins of absent fathers, class oppression — into his narrative, and in a magical love scene.
When some people get parts, they feel they can now relax, but for me it was always the opposite. Sometimes before I do a movie or before I act out a scene, I may not sleep well the night before. If I don't know what the scene is about, I might get all worked up.
Condelleza Rice and Colin Powell are both dangerous people. What they did in Haiti [2004 U.S.-backed coup that ousted democratically elected President Jean-Bertrand Aristide] is a good measure of it. They destroyed a democracy. They squelched loans that had been approved by the Inter-American Development Bank. They did everything behind the scenes, including arming the thugs that came to overrun the country. They're frauds.
But I couldn't cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.
I remember laughing an inordinate amount of time. Setting up scenes that involve ooze coming out basements, or pigs' heads flying through windows is really fun. How could you not laugh?
Kissing onscreen is the worst thing in the world. I'm OK with lovemaking scenes, but I hate kissing.
I played the character knowing that she was knocked down, 100 percent, dead-in-front-of-a-bus in love with her boss. Every scene, I did not care if it was about taxes or about, you know, getting rid of the penny, it was all about me being in love with him.
Savannah is a . . . lovely pastel dream of tight cobbled streets. . . . There are legendary scenes . . . to rival any dreamed up by Tennessee Williams.
A massive and brilliant accomplishment--the first English translation of the original Grimm brothers' fairy tales. The plain telling is that much more forceful for its simplicity and directness, particularly in scenes of naked self-concern and brutality. Hate, spite, love, magic, all self-evident, heartbreaking, delightful. I will return to this book over and over, no doubt about it.
No scene is ever about the words being spoken.
We saw a hole in the Chicago poetry scene that slam couldn't fill. I think a lot more can be done with the form than just competition.
What I particularly liked was that, coming from California and not being involved in the New York scene, I developed my personal way, in my own way, at my own pace.
Well first of all, it's hard to shoot a movie and break for a long time and then come back and do, in a sense, one of the biggest scenes that each character had.
The scenes in the show were filmed with a crew of really excellent stunt jumpers, but we had the feel of the parachutes, so we could be more realistic in the roles.
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