Scene And Shot Quotes & Sayings

I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it. — Cary Fukunaga

The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene. — Craig McCracken

I'll never forget reading Chekhov's "A Doctor's Visit" on a train to Hawthorne, New York, and I got to the end - the scene where the patient says goodbye to the doctor and she puts a flower in her hair as a kind of thank you to him - and I felt like a cowboy shot from a canyon's top. This is a different experience from reading a novel, I think. The emotional effect is cumulative. Let's just hope market forces don't send short fiction the way of the dinosaur, because their sales are paltry compared to the novel and this is truly unfortunate. — Adam Ross

If I can play a scene in a master shot, I always prefer it. And the actors always prefer it. It's fun to look at on the screen, the actors get a chance to sink their teeth into something substantial, and it's economically helpful. — Woody Allen

It's been me all along," said September slowly. "Me who gave up my shadow, me who went down into Fairyland-Below and Fairyland-Lower-Than-That to wake up the Prince. Me who shot the poor Minotaur. You oughtn't just hand the whole business over the moment a Prince comes on the scene. I've got to see it through, don't you see? The Hollow Queen is hollow because she's missing the part of her that's me. We've got to come together again. And he can't do a thing about that. — Catherynne M Valente

I remember when people said, "Man, that's a powerful scene in the movie!" and I was like, "We just shot this thing before lunch, I don't know, he tears a log apart, I said some words". — Robert Downey Jr.

The running across the field thing, that was the first scene we shot in the movie. We asked the audience to stay for the scene, and 37,000 people stayed. — Jimmy Fallon

Raft told me how to walk with him in a scene: We'd start off in a long shot normal, and about the time we got together in a close-up, I'd be bending my knees so I'd be shorter. — Marie Windsor

She noticed a monger's window where, on a bed of ice, a wonderful scene was worked in fish. A skiff made of flounder fillets rode waves of shrimp and blue-black mussels. A whole salmon was a lighthouse, shot out rays of glittering mackerel. All framed by a border of crab claws. She — Annie Proulx

I like to give dimension to shots inside action scenes. It's demanding because you have to rehearse a lot of things happening at the same time and frame all those things in a shot. But I feel like when you accomplish that then you've got a cool action scene. — Jose Padilha

If you've ever studied mortal age cartoons, you'll remember this one. A coyote was always plotting the demise of a smirking long-necked bird. The coyote never succeeded; instead, his plans always backfired. He would blow up, or get shot, or splat from a ridiculous height.

And it was funny.

Because no matter how deadly his failure, he was always back in the next scene, as if there were a revival center just beyond the edge of the animation cell.

I've seen human foibles that have resulted in temporary maiming or momentary loss of life. People stumble into manholes, are hit by falling objects, trip into the paths of speeding vehicles.

And when it happens, people laugh, because no matter how gruesome the event, that person, just like the coyote, will be back in a day or two, as good as new, and no worse - or wiser - for the wear.

Immortality has turned us all into cartoons. — Neal Shusterman

Doug returned five minutes later and shook his head. "Sorry kid. She's single, but she doesn't think you're her type. She's into the Goth and vampire scene. You're too mainstream for her." I was sipping a glass of water and nearly choked on it.
"That," said Peter, as soon as Doug was gone, "is what we call irony."
"How is that possible?" exclaimed Cody. "I am a vampire. I should be exactly what she wants."
"Yeah, but you don't look like one," I said. If Gabrielle had been a Trekkie, he might have had a shot tonight. — Richelle Mead

The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes. — Stanley Tucci

They went along a balcony that looked down over the dining room and the dance floor. The lisp of hot jazz came up to them from the lithe, swaying bodies of a high-yaller band. With the lisp of jazz came the smell of food and cigarette smoke and perspiration. The balcony was high and the scene down below had a patterned look, like an overhead camera shot. (Nevada Gas) — Raymond Chandler

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

Like behind the car or in the pub, to do a scene, a proper nice dramatic scene, it's always a treat. And they're usually shot as one, so you've got a big chunk of dialogue to learn, and you feel like you're working. — Simon Pegg

Doc lowers the gun and stares at the man he just shot. "See, regret eliminated." When he looks at me, I see blood painting his face. His expression is that of a madman. "Welcome to hell, Ryler, a place where the evil thrive and the weak die. This man was weak. My son was weak. And now they're both paying for their sins." Having no idea how to react, I just stand there, staring at the gory scene, the scene I helped cause. Doc snatches a handkerchief from his pocket to wipe his face off. Then he throws it to me. "Clean yourself up." I — Jessica Sorensen

I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue. — Jennifer Sky

Jeremiah ends inconclusively. We want to know the end, but there is no end. The last scene of Jeremiah's life shows him, as he had spent so much of his life, preaching God's word to a contemptuous people (Jer 44). We want to know that he was finally successful so that, if we live well and courageously, we also will be successful. Or we want to know that he was finally unsuccessful so that, since a life of faith and integrity doesn't pay off, we can get on with finding another means by which to live. We get neither in Jeremiah. He doesn't get married and he doesn't get shot.[5] In Egypt, the place he doesn't want to be, with people who treat him badly, he continues determinedly faithful, magnificently courageous, heartlessly rejected - a towering life terrifically lived. — Eugene H. Peterson

If you film a scene in a wide shot, especially a disturbing, distressing moment, I do feel like that helps you feel as though you're the room with these people, instead of cutting it up and getting close - which you wouldn't be doing if you were actually in a room with these people. — Alex Karpovsky

Activision was promoting an adventure game called Pitfall Harry and had built a little jungle scene in which passersby could swing on a makeshift vine. In another room, a company called Zombie had a metal sphere that shot blue electric bolts through the air. But the id installation had a bit more in store: an eight-foot-tall vagina. Gwar, the scatological rock band that id had hired to produce the display, had pushed their renowned prurient theatrics to the edge. The vagina was lined with dozens of dildos to look like teeth. A bust of O. J. Simpson's decapitated head hung from the top. As the visitors walked through the vaginal mouth, two members of Gwar cloaked in fur and raw steak came leaping out of the shadows and pretended to attack them with rubber penises. The Microsoft executives were frozen. Then, to everyone's relief, they burst out laughing. — David Kushner

I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good. — Gabriel Mann

You'll still work with some directors where that doesn't happen, and sometimes it's out of necessity because you're in a really complicated, choreographed fight scene and the whole thing is being prevised in a computer, so it's been decided months before, but I think that's sneaking into the way action scenes are shot. — Paul Bettany

One night I dreamed a dream.
I was walking along the beach with my Lord. Across the dark sky flashed scenes from my life. For each scene, I noticed two sets of footprints in the sand, one belonging to me and one to my Lord.
When the last scene of my life shot before me I looked back at the footprints in the sand. There was only one set of footprints. I realized that this was at the lowest and saddest times of my life. This always bothered me and I questioned the Lord about my dilemma.
"Lord, You told me when I decided to follow You, You would walk and talk with me all the way. But I'm aware that during the most troublesome times of my life there is only one set of footprints. I just don't understand why, when I need You most, You leave me."
He whispered, "My precious child, I love you and will never leave you, never, ever, during your trials and testings. When you saw only one set of footprints, It was then that I carried you. — Margaret Fishback Powers

There are things that are about the entire genre, so it's weird when you look on Wikipedia and people say, "The scene where Angel grabs his fist is from Superman II," and you're thinking, "Ummm, no it's not." Or, "There's a shot from Matrix Revolutions." I'm thinking, "I've only seen Matrix Revolutions once, and will never watch it ever again." — Edgar Wright

Ginny had seen enough shows in her lifetime to know that this wasn't a very good show. It didn't actually make any sense. There were a lot of random things going on, like a guy who sometimes rode through the scene on a bike for no reason that Ginny could figure. And at one point, there was a shooting in the background, but the guy who got shot just kept on singing, so his injuries obviously weren't that bad. — Maureen Johnson

In the love scene's final shot, Johnny gets out of bed and walks bare-assed to the bathroom. Tommy thought long and hard about his decision to show his ass. "I need to do it," he told me. "I have to show my ass or this movie won't sell. — Greg Sestero

I see it all through the lens of my camera - the flurry of movement, the venue staff in black T-shirts, giving orders into their headsets. As I take it all in, my mind weighs the texture, the composition, the possibility of each changing scene, and I struggle to hold back, to keep my finger from pressing too soon. That's my biggest flaw as a photographer. I'm impatient - trigger-happy. I want the shot now, now, now, click, click, click, and if I could just wait a second more, the moment would really flourish. — Emery Lord

To this day I over prepare. I draw storyboards for every scene - chicken scratches so crude that they amuse and horrify the crew. I send out shot lists, act out the scenes, and search for a theme that I can relate to. It's my favorite time of the process. — Eric Stoltz

Till now I have never shot a scene without taking account of what stands behind the actors because the relationship between people and their surroundings is of prime importance. — Michelangelo Antonioni

Richard leans on his stick. He takes a deep breath and begins to speak. "What a fucked up night? We get this tip that some clown is moving in, I fly off the handle, and off some poor schmuck's wife and I shoot the bastard. To make matters worse, I chop his fucking arm off." Vincent takes a shot and retorts. "The whole scene was fucking Shakespearean. Comedy juxtaposed against a tragic backdrop. — Z.S. Kaplan

It's not like we were forced to do something we didn't want to do. I mean, when you see that scene you'll realize that we're really lucky that the weather came at us because now it has a lot more meaning that wasn't automatically there. There's some sort of undertones that wouldn't have existed had we shot it outside. So we got lucky on that and what we try to do is take whatever obstacles come our way and make them work in our favor. — Todd Farmer

It's hard work. It's really hard work, but it's really interesting. We have this camera, I think it's called a SimulCam, and when you play it back, you can see the giant in the scene you just shot. It's incredible. You're reacting to a tennis ball that's way up there, then when you watch it, it's this huge giant's face on it. Wow. That's cool. I just can't wait to see it when it's all edited together and the special effects are all crystal clear. It's going to be, hopefully, amazing. — Eleanor Tomlinson

The genius is not in how much Stanley Kubrick does in "2001: A Space Odyssey,' but in how little. This is the work of an artist so sublimely confident that he doesn't include a single shot simply to keep our attention. He reduces each scene to its essence, and leaves it on screen long enough for us to contemplate it, to inhabit it in our imaginations. Alone among science-fiction movies, "2001' is not concerned with thrilling us, but with inspiring our awe. — Roger Ebert

Once I shifted my thinking, though, I stopped roughing myself up and started asking Why? Why don't you want to write? What's wrong? And while the answers were never pleasant (because really, it's no fun to realize you messed up and now you have to rewrite a scene, or a chapter, or half a book), they were progress, and they were necessary. They were also extremely good for me, because once I got my story back on the right track, my bad writing days vanished, my daily word counts shot up, the quality of my writing improved, and life in general got a whole lot better. — Rachel Aaron

When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects. — Andy Serkis

All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line. — Judd Apatow

For years, Zagreb, Croatia's chief city, was a layover on the way to the country's island-studded coast. No more. Tourism had shot up more than 20 percent from 2011 to 2013, when Croatia joined the European Union. Accompanying that rise is a raft of modernized and recently built lodgings, including some three dozen hostels - important additions to the town's once-inadequate accommodation scene. — Anonymous

On True Blood
I've never told anybody this
but I was so nervous and then I was so drunk that after I shot the scene I was going up to the crew members
I had just met all these people the day before
and I was going up to all of them like, 'You got a boner! You do! You've got one!' It was horrible. — Lizzy Caplan

I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him. — Dustin Hoffman

I am inspired just by the way a scene can be interpreted by the actors. It can make a huge difference on the type of music that you write. It's best for me if I don't work at all on a project until the movie is shot and I have some sort of edit in front of me. — Marco Beltrami

It was a scene I was really looking forward to, and one that I embraced, and when we were filming it, George got closer and closer and closer with that camera - he was practically up my nose for the final shot. So I knew it was a moment that I had to do my best to get right. — Ian McDiarmid

As inexplicable as the accidents that set it off, our imagination is a crucial privilege. I've tried my whole life simply to accept the images that present themselves to me without trying to analyze them. I remember when we were shooting That Obscure Object of Desire in Seville and I suddenly found myself telling Fernando Rey, at the end of a scene, to pick up a big sack filled with tools lying on a bench, sling it over his shoulder, and walk away. The action was completely irrational, yet it seemed absolutely right to me. Still, I was worried about it, so I shot two versions of the scene: one with the sack, one without. But during the rushes the following day, the whole crew agreed that the scene was much better with the sack. Why? I can't explain it, and I don't enjoy rummaging around in the cliches of psychoanalysis. — Luis Bunuel

I just wrapped 'Eclipse' yesterday and the last scene we shot is probably my favorite thus far. I finally got to tell my story, in a very gentle yet elaborate way. — Nikki Reed

If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again. — Michael Haneke

We just started filming, and after every scene was shot, we had a rehearsal for the next one. — Rupert Grint

Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot. — Anthony Michael Hall

I checked myself out in that funeral parlour scene. I saw myself laughing, because there was a shot of Ed and I together and Mary was right in back of us. My head turned from the camera and I saw myself laughing, because Mary was absolutely brilliant in that thing. — Gavin MacLeod

If you need to strap a camera to you or get in a small space, then it makes sense to use digital.I do think it is possible to use a digital camera artistically, but it can only be good if you are using film technique. Film has grain, and digital has pixels, and there is not that much of a difference, but digital does not replace the need to create a scene and light it properly and spend time considering the shot. — Vilmos Zsigmond

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

We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment. — Vilmos Zsigmond

There's a scene I particularly like in 'Betrayed' where Shane has been shot in the side. Yet he drives to a small airport, checks out the Rockfort plane and flies himself and Elena to safety. Only when he knows they are out of danger does he allow himself to sit down on the couch and admit he's injured - to a horrified Elena. — Ruth Glick

When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film. — Michelangelo Antonioni

The first scene I ever appeared in, it was the first scene I ever shot [during my] first day on set. I walk up to my mom with a plastic bag over my head and she says that her clothes better not be on the floor, not that a plastic bag is not a safety hazard or anything. I think it's a really cute scene and also just a very vivid memory. — Kiernan Shipka

If the Constitution was a movie, the Preamble would be the trailer, the First Amendment the establishing shot, the 13th the crowd pleaser and the 14th the ultimate hero scene. — Henry Rollins

The first scene I shot on The Originals was the one with Phoebe, Charles (Michael Davis), and Andy Lees when we are plotting our plan and surveying the map and plotting our grand "break in." It was a relatively light scene which was nice because I was able to warm up a bit and get comfortable with being around the new crew. They were all very kind and helpful and I felt pretty at home after a few takes. — Paul Wesley

If you got the DVD you can see that George Lucas has taken that person out, as well as the voice, and we shot this scene when we arrived in Australia during the actual filming of Episode 3. — Ian McDiarmid

I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear. — Rod Steiger

Arms wrapped around [Darcy's] abdomen from the back. Fingers felt for the spot above his navel. Two fists pushed in and upward. Darcy felt a violent squeezing sensation. The offending prawn shot out of his gullet, flew across the table, and knocked Tate's wine glass over...Tate looked down at the partially chewed shrimp in disgust and covered it with his napkin. — Donna Warner & Gloria Ferris

The first scene I ever shot for 'Louie Bluie,' on that first day, I had never seen the camera before. I didn't know where to put it. I just knew what was strong about these guys and what I wanted to capture, so I tried to work backward from there and figure it out. Trial and error. Hopefully I got a little bit better at it. — Terry Zwigoff

When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end. — Jason Reitman

The animators bring their own spontaneity to it as well, because when they do a take of a shot it really is like just one continuous activity for them. They launch into it and do it, and they're not even quite sure how it's going to turn out when they're doing it. They're sort-of sculpting their way through a scene and trying to make this inanimate object alive. — Wes Anderson

The scene we shot with Charlie Rose was actually the last piece that was ever shot for 'Breaking Bad.' My daughter and I flew to New York; we got to shoot in the 'Charlie Rose' studio. Adam Godley and Jessica Hecht are such expert performers that we were able to get it very beautifully and very quickly. — Peter Gould

So we were doing this scene, and the kids get 20 minutes a day, um, so, all I had to do was pick him up out of the incubator and take him out, and that was the whole shot. — Steve Burton

I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here and we start with reel one, scene one and start editing shot by shot by shot until we're finished. — Woody Allen

Most movies are lucky to have one moment, one shot that you look at and you always remember that moment and that scene. — Viggo Mortensen