Quotes on Scene

I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot.

Terrorism and the whole drug scene are vivid examples of the fact that what persons abhor most of all in life is the possibility that they will not matter.

We both grew up in the atmosphere of struggle, both Ossie and me, ... I come out of Harlem and Harlem comes out of me - wailing police sirens and street parties, rumors and landlords, that cultural, spiritual scene. And Ossie came up from the South, where struggle and dying were part of everyday life. That is who we are.

I've been told, and I think I recognize it, that there's a cinematic quality to my writing, with a sense of image and place and scene - and, some would say, my tendency to finish my books the way Hollywood finishes its films.

I can't read fiction without visualizing every scene. The result is it becomes a series of pictures rather than a book.

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.

The scene I had just witnessed (a couple making love in the ocean) brought back a lot of memories – not of things I had done but of things I had failed to do, wasted hours and frustrated moments and opportunities forever lost because time had eaten so much of my life and I would never get it back. I envied Yeoman and felt sorry for myself at the same time, because I had seen him in a moment that made all my happiness seem dull.

I have a rotten habit of picturing the bedroom scenes of my friends.

Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.

It is okay to be an outsider, a recent arrival, new on the scene - and not just okay, but something to be thankful for. ... Because being an insider can so easily mean collapsing the horizons, can so easily mean accepting the presumptions of your province.

I don't know what the hell I'm doing up there half the time. These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what technique means. But I do know what experience is. I know in my gut when I've done a scene right.

I was born with music inside me. Music was one of my parts. Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me-like food or water.

I think, for one thing, all of us remember those teenage years and those songs that we fell in love with and the music scene that we were part of. So, in a certain way, music cuts through time like almost nothing else. You know, it makes us feel like we're back in an earlier moment.

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.

Much more frequent in Hollywood than the emergence of Cinderella is her sudden vanishing. At our party, even in those glowing days, the clock was always striking twelve for someone at the height of greatness; and there was never a prince to fetch her back to the happy scene.

Spaces devoted to Hannibal Lecter’s earliest years differ from the other archives in being incomplete. Some are static scenes, fragmentary, like painted attic shards held together by blank plaster. Other rooms hold sound and motion, great snakes wrestling and heaving in the dark and lit in flashes. Pleas and screaming fill some places on the grounds where Hannibal himself cannot go. But the corridors do not echo screaming, and there is music if you like.

Born often under another sky, placed in the middle of an always moving scene, himself driven by the irresistible torrent which draws all about him, the American has no time to tie himself to anything, he grows accustomed only to change, and ends by regarding it as the natural state of man. He feels the need of it, more he loves it; for the instability; instead of meaning disaster to him, seems to give birth only to miracles all about him.

... with Voodoo Child somebody was filming when we started doing that. We did that about three times because they wanted to film us in the studio, to make us (imitates a pompous voice) 'make it look like you're recording boys' - one of them scenes, you know, so okey, let's play this and then we went into Voodoo Child

With her foot on the threshold she waited a moment longer in a scene which was vanishing even as she looked, and then, as she moved and took Minta's arm and left the room, it changed, it shaped itself differently; it had become, she knew, giving one last look at it over her shoulder, already the past.

Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the 'psychological guidance' of the spectator.

Anyone who has chanced like me to roam through desolate mountains and studied at length their fantastic shapes and drunk the invigorating air of their valleys can understand why I wish to describe and depict these magic scenes for others.