Many times I was ordspråk

Many times I was never quite satisfied with the scene after two or three or four takes, and I would go ahead and take it anyway, ... But when that scene was shown on the screen . . . there was something behind the eyes that told the whole story.

Clarence Brown (1890-1987)

William Wyler has always been famous for taking a lot of takes. There is this story that he did this scene with a bunch of very competent people, a very important scene in the movie, and he'd already done it thirty times. One of them came to Willie and said, 'I want to know what we're doing wrong. What do you want us to do?' And Willie said, 'No, you're doing it fine. I'm just waiting for something to happen'.

James Stewart (1908-1997)

The view of the local scene through the eyes of a native participant in that scene is a different window.

Kenneth L. Pike (1912-)

He's a super, super professional. He will go over and over a scene again. He can become black and blue. In one scene, we did more than 150 shots in two days. That was crazy for an action scene. He was hurting so much. But he knew we had to have this scene and he knew this would be one of the best fights of the movie, so he kept on going, and at the end of the day he almost fainted. He was in so much pain.

Louis Leterrier (1973-)

She read that really difficult scene when she is being confronted [by Mark Ruffalo's character] and told her sister is communicating to him, and she chases him out with a knife. She made me cry. It's a tough scene for an actor to do.

Laurie MacDonald

The crime scene told the story here,

John Gamble

This scene is done using a single sustained mastershot in order to allow the actors the most conducive environment for intimacy and intensity and in order to best communicate what happens in the film's pivotal scene. It cannot be cut without compromising the central scene of the narrative and thus rendering the mystery of the film incomprehensible. It remains more than a bit absurd to me that this scene would garner an R if shot exactly the same but from just the torso up but becomes an NC-17 because the mastershot reveals full bodies.

Robert Lantos (1949-)

The Houston Endowment is smaller in scope than UT-Austin, but the activity is large, ... It is extremely important to the education scene, the arts scene and the medical scene in Greater Houston.

Larry Faulkner

This scene is done using a single sustained mastershot in order to allow the actors the most conducive environment for intimacy and intensity, and in order to best communicate what happens in the film's pivotal scene, ... It cannot be cut without compromising the central scene of the narrative and thus rendering the mystery of the film incomprehensible.

Robert Lantos (1949-)

The most gruesome scene that we see is this woman in the cage getting her fingernails clipped. We never see any stabbings. We never see any stranglings. I very much think that you don't have to show it to scare the audience. And when I wrote that scene, everybody told me I was sick. But it's just a woman getting her nails clipped.

Jeff Davis

This scene is done using a single sustained master shot in order to allow the actors the most conducive environment for intimacy and intensity, and in order to best communicate what happens in the film's pivotal scene, ... It cannot be cut without compromising the central scene of the narrative and thus rendering the mystery of the film incomprehensible.

Robert Lantos (1949-)

[In one courtroom scene, in which Robinson is asked by his lawyer whether he has committed the rape, the accused man answers firmly, but with tears in his eyes:] I did not, sir. ... There wasn't a dry eye on set filming that scene… [the director] Robert Mulligan sat me down and asked me to prepare for the point where I burst into tears by only going to places in my mind where I remembered and experienced pain, and let me tell you the tears did come.

Brock Peters (1927-)

Jackie come to me and says, 'We gonna do a fight scene.' I said 'What?' He says 'We got to do a fight scene in the next scene. I have to teach you.' I say 'How you gonna teach me in three seconds?' ... What we did, we did the fight scene with our arms connected.

Chris Tucker

Today, when I see the scene on screen, I can't handle it. I look away.

Monica Bellucci (1968-)

When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.

Walter Murch (1943-)

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Denna sidan visar ordspråk som liknar "Many times I was never quite satisfied with the scene after two or three or four takes, and I would go ahead and take it anyway, ... But when that scene was shown on the screen . . . there was something behind the eyes that told the whole story.".

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