I've done a fair amount of that stuff... when we did 'Lord of the Rings' the transformation sequence from Smeagol to Gollum was a 19-hour make-up job. You have to have a kind of zen button that you press and allow the mind to be focused in a certain way.
She [Virginia Madsen] and I had a really long relationship after that movie ['Class'] I love her, and I can imagine it was not much fun to do that big sequence with a bunch of laughing, ogling frat-boy actors. I mean, can you imagine putting up with me, [John] Cusack, Alan Ruck, and Andrew McCarthy at 18?
I'm not really attracted to action sequences, because my experience is that it's quite a slow process to shoot them, and often we're not involved as actors.
All films created by Walt Disney at the time of his major outpouring of work were carefully crafted to fit scenes, characters, moods and situations. If these elements changed in any way, songs - no matter how good they were - were discarded. Others were written for the new scenes. Many times, character songs were dropped because characters were dropped...sequences were dropped etc.
It's rare in a documentary film that you have a repetitive act. So when you do, you can shoot it in different ways so that you have more choices when you're sitting down to edit that sequence six months later.
I love both [Johnny English and James Bond] actually. The action sequences are really exciting because you're getting to work with some brilliant crew and do some great stuff but you always get some magic when you're working with actors.
I thought I could start over, you see. But now I know you can never start over. Not really. You think you have control, but you are like a fly in somebody else's web. Sometimes I think that's why I like accounting. All day, you are only dealing with numbers. You add them, multiply them, and if you are careful, you will always have a solution. There's a sequence there. An order. With numbers, you can have control.
When something in a sequence is edited, if you repeat an image, but in a different place, the effect is different. Because the brain is remembering, and the different juxtaposition triggers other memories, thoughts, ideas, and so on.
I'm a very tactile learner, so I need analog index cards, moving them all about, trying out various sequences for the book's architecture.
I'm a visual filmmaker so the camera is a big part of my storytelling tool and it's something that I really rely on to tell a scene or create the suspense that I need and create the emotion of a scene or a sequence.
It’s a most natural way for me. I can tell people I can run in a saree and I can do five sequences in a saree. I can romance in a saree and I can do everything in a saree. For me, it’s a most versatile garment…it’s extremely sensuous and at the same time it is strong, there is an elegance and at the same time it teases your imagination…It’s very powerful.
A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.
I don't really know what I want, other than good sequences, whatever that means. What I find is always a matter of chance, judgment, and luck.
There was one sequence of days [making Lincoln in the Bardo] when I had halfway decided to use the historical nuggets, but I wasn't quite sure it would work. I'd be in my room for six or seven hours, cutting up bits of paper with quotes and arranging them on the floor, with this little voice in my head saying, "Hey, this isn't writing!" But at the end of that day, I felt that the resulting section was doing important emotional work
I kinda write in sequences that I live through.
I express preference for a chronological sequence of events which precludes a violence.
The cause-effect sequences in our brains are just as determining, just as inescapable, as anywhere else in Nature.
I have always added dance to my productions. When I was directing theatre, I added dance sequences where they didn't exist in the play. I think dance is the ultimate form of expression.
Historical chronology, human or geological, depends... upon comparable impersonal principles. If one scribes with a stylus on a plate of wet clay two marks, the second crossing the first, another person on examining these marks can tell unambiguously which was made first and which second, because the latter event irreversibly disturbs its predecessor. In virtue of the fact that most of the rocks of the earth contain imprints of a succession of such irreversible events, an unambiguous working out of the chronological sequence of these events becomes possible.
Murderers will try to recall the sequence of events, they will remember exactly what they did just before and just after. But they can never remember the actual moment of killing. This is why they will always leave a clue.
Much as I admire Tolkien, I once again always felt like Gandalf should have stayed dead. That was such an incredible sequence in Fellowship of the Ring when he faces the Balrog on the Khazad-dûm and he falls into the gulf, and his last words are, "Fly, you fools." What power that had, how that grabbed me. And then he comes back as Gandalf the White, and if anything he's sort of improved. I never liked Gandalf the White as much as Gandalf the Grey, and I never liked him coming back. I think it would have been an even stronger story if Tolkien had left him dead.
This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence - even this spider and this moonlight between the trees, and even this moment and I myself. The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!
Before he has seen the whole, how unusually perceptive and imaginative the person must be to evolve the entire sequence by meditating on its single, pair or triplet of essential images.
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