#scene

In Birmingham, Manchester or Liverpool there are white gangs that share the same backgrounds - they come from broken homes, completely dysfunctional, mums for the most part unable to cope, the fathers of these kids completely not in the scene. ↗

— Iain Duncan Smith

#birmingham #broken #come #completely #cope

As soon as he had her safe again in his arms he broke down and kissed her. Helen was so stunned she stopped crying before she had a chance to start and nearly fell out of the sky. Still the better flyer, Lucas caught her and supported her as they tumbled on the wind, holding and kissing each other as he tumbled on the wind, holding and kissing each other as he guided them safely back down to the catwalk. As their feet touched down, the light inside the lighthouse switched on and projected the shadows of their embracing figures out onto the choppy waves of the ocean. “I can’t lose you,” Lucas said, pulling his mouth away from hers. “That’s why I didn’t tell you the whole truth. I thought if you knew how bad it was you’d send me away. I didn’t want you to give up hope. I can’t do this if you give up on us.” (Starcrossed) ↗

— Josephine Angelini

#so-beautiful #the-best-scene-ever #beauty

Duga popodnevna sjenka, tmurna duša brda, puzila je poljem, zatamnjujući ga, prešla je i preko mene, opkolila me odasvud, a sunčana strana je bježala od nje, uzmičući prema drugom brdu. Daleko je noć, to je samo njen rani predznak, nešto zloslutno je u tim mrkim prethodnicama. Nikoga nema na polju prepolovljenom sjenkom, puste su obje strane, jedini ja stojim na toj zavađenoj širini što se zamračuje, sitan u prostoru što se zatvara, obuzet mutnim tjeskobama koje nosi moja prastara duša, tuđa a moja. Sam u polju, sam u svijetu, nemoćan pred tajnama zemlje i širinama neba. A onda se odnekle od brda, od kuća u pristranku, začula nečija pjesma, probijala se kroz sunčani prostor polja do moje sjenke, kao da mi je išla u pomoć, i zaista me oslobodila kratke i bezrazložne začaranosti. ↗

— Meša Selimović

#death

He'd done his walls with paint from Holy Basil. God, I yearned for their colors. I hadn't been able to afford them myself but I knew their color chart like the back of my hand. His hall was done in Gangrene, his stairs in Agony and his living room--unless I was very much mistaken--in Dead Whale. Colors I personally very much approved of. ↗

— Marian Keyes

#humor #setting-the-scene #way-with-words #family

There are three rape scenes that I've had to act in, and none of them have gotten to film. I don't think it's something that should be promoted in any way. ↗

— Joan Severance

#any #film #gotten #had #i

Ask me for money, Peter.” I grabbed his wrists and pushed him against the wall. He looked everywhere but at me, no attempt to free himself. He was definitely stronger than I, but right that second I didn’t care if he was being patronizing. If it forced him to answer me, then patronizing I’d take. “No,” he murmured. “Ask me for money, goddamn you.” I punctuated it with a slam of his wrists, hard enough to jar, but not painful—I hoped. The next time my shirt wouldn’t be there to cushion it. I was that pissed. “I have!” He spat back, easily extricating his hands and pushing me away. I grabbed his arm, turning him around. “For Cai. For sex. Not for you. You’d rather go fuck a bunch of strangers—” “I don’t fuck anyone but Darryl anymore,” he denied. “It’s just a show for a bunch of voyeurs. No one gets hurt.” “I get hurt!” “I don’t have any other way, Austin.” “You have me. Ask me,” I said, hating the pleading sound in my voice. “No.” “Jesus Christ, why the fuck not?” “Because I don’t want you to be a fucking trick!” The shout was so loud I felt the vibrations along my spine. ↗

— Dani Alexander

#money

Come, you spirits That tend on mortal thoughts! Unsex me here, And fill me from the crown to the toe top full Of direst cruelty; make thick my blood, Stop up the access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it! Come to my woman’s breasts, And take my milk for gall, you murdering ministers, Wherever in your sightless substances You wait on nature’s mischief! Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor Heaven peep through the blanket of the dark, To cry "Hold, hold! ↗

— William Shakespeare

#scene-v #nature

There is one confrontation scene toward the end of the picture. In the middle of the scene, I thought, That's Sean Connery! I don't know how else to describe Sean Connery. I still feel that way. ↗

— F. Murray Abraham

#connery #describe #else #end #feel

I don't really worry about the size of the part much any more. It's nice to have more time to work on the character, and to have big scenes to play. But if there's something playable there, and if it's interesting to do, then that's nice. ↗

— Alan Alda

#any #big #character #i #interesting

Every time you do a take on a movie, you're not sure if it's going to succeed. Even if you have a great cast, like we had, every scene you're kind of waiting for the release. 'Oh, yes; it happened. We got it!' There's always the possibility that it's just not going to work. ↗

— Wes Anderson

#cast #even #every #every time #going