I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.
When you have two different women coming from two very different backgrounds, it's fun for us because we get to explore how each one of them approaches their job and how they bring their own experiences to it.
In this case, Jane and Maura don't always agree on how to go about solving something. They both are very different in their approach and, a lot of times, that can lead to potential conflict, and then a debate in figuring out who and what is the right way to do it.
I have a great interest in Victorian musical & cabaret performances and Weimar artists so the references are there, to Cabaret and also All That Jazz and other films where, where there's a kind of (influential German playwright Bertolt) Brecht-ian approach, almost to the character standing outside of himself or, in this case, he's "self-séance-ing."
I approach song writing three different ways. One way is where I write the initial melody and lyrics first and then take it in to the producer to collaborate. Another way is where the producer sends me his initial musical track ideas and then I write the lyrics and melody over his track. The third way is where we just jam out in the studio and see what we come up with.
Your background has a lot to do with your approach to movement.
Sweets [Edison] can say more with one note than any other Jazz player alive... an approach that stresses simplicity, glorious tone, natural potency and an unmatched affinity. He is a unique stylist in our music.
British actors come at acting from a slightly different angle. Because a lot of the films are cast out there, they are so used to the angle from which the Americans, and certainly the young guys from LA, are coming at it, that I think it's interesting for them to find these English actors who maybe approach acting from a different place.
I like to approach every day like it's my first, so this morning when I woke up I covered my body with red gelatin.
I like to approach every day like it's the only day I will ever have.
American advertisers rely on 'essentially illogical' approaches to determine their advertising budgets.
Documentary is, therefore, an approach, which makes use of the artistic faculties to give vivification to fact - to use Walt Whitman's definition of the place of poetry in the modern world.
The act of photography is that of phenomenological doubt to the extent that it attempts to approach phenomena from any number of viewpoints.
When there is an issue, I approach it and hit it head on. I speak the truth. If I do something wrong, then I own it.
The cooking side is the easier way to be creative. On the policy side, it's harder to think of new approaches to problems.
Getting plastic surgery in your late 70's, it's kind of like painting your house as the fire approaches. Just die, there's no shame in it.
My whole approach to marriage is simple: my wife will do something that drives me insane, I won't say anything, and then, later, I'll die of cancer.
I don't try to approach things any differently, songwriting-wise, regardless of what I'm doing. I try to write whatever the best thing is that I'm doing that day. If I'm working on a pop song, I'm working on a pop song to the best of my ability. If I'm working on a bluegrass song, it's the same thing. They're not really different parts of the brain.
It was only with the emergence of the Conceptualist approaches of the late 1960s that the opposition between artists using photography and photographers became explicit.
My style is the paparazzi approach which is spontaneous, unrehearsed, off-guard. The beauty I'm after is inherent, more natural. Genuine emotions, real emotions, that's what I look for.
By trying many different approaches, you may slowly reach the point where you say more about yourself than about the objects or the landscapes or the people you photograph - and this is where photography really interests me.
The most prevalent way of working in photography right now is project oriented: you go after an idea. I like the old way, the intuitive approach. You follow your nose and take pictures and see what emerges. It happens after the fact.
What attracts me in photography is not so much a fine arts approach, but rather photographs as documents... All the ways in which human beings have documented the world in an attempt to order it, in an attempt to consume it or rule it or hang on to it in some sense.
My generation came at a time when photography was advancing by leaps and bounds, creating the impulse to experiment and seek new approaches.
The spiritual aspect of my work has more to do with the sense that things in the world can be perceived and accepted as being in some respect alive. I try to approach everything that I photograph with this sense of wide-eyed awe.
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