Sequence Quotes - Page 15

• I mean, in terms of comfort, it was horrible, but we knew the sequence was going to be good. That sort of drives you forward when you know what you're working on is going to be fun. You'll go through all manner of discomfort to get the shot.

  Michael Chiklis

  Fun, Mean, Comfort

  Source: collider.com

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• I prefer to work the old-fashioned way. I trie to do everything or most of his action sequences practically, because I feel that while added effects or the VFX process allows for flashier sequences, I feel that it lacks the energy we see in practical effects.

  Kim Jee-woon

  Energy, Way, Action

  Source: collider.com

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• But when there were certain moments or scenes that required a very specific nuance or performance, I myself would act out the scene or the sequence and that would inspire the actors. Of course, I can't really express emotions on camera, but I was very active in showing a certain action or a blocking for an actor. I would also participate in certain stunts myself and because of that, I would get bruises or cuts on my knees and elbows.

  Kim Jee-woon

  Block, Cutting, Inspire

  Source: collider.com

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• That and when you're doing live action you don't normally get to see the thing before it's in production. In this case we'd go in every couple weeks and look at animatic and sketches. The way they do it - is they'll put it up on a screen and the storyboard artist who worked on that sequence will talk you through it. Kind of like a pitch session. Then they would leave and we would sit there with the directors and say 'Alright - what if we change that? What if we do that?' It's very different from live action.

  Jonathan M. Goldstein

  Couple, Artist, What If

  Source: collider.com

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• It's much easier to do a fight sequence between two people, if one of the two people in the fight is a stunt person, or you're going to risk somebody getting hurt.

  Doug Liman

  Hurt, Fighting, Two

  Source: collider.com

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• I draw things on the paper very freely but believing there is meaning to them already. There is already meaning in the colors, I don't need to be guided by words. I draw them and the meaning comes after. Every time we would start a new sequence we would change everything.

  Alex Abreu

  Believe, Color, Needs

  Source: blogs.indiewire.com

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• The invention progress is tough sometimes. When I first choreographed the Drunken Master in the past with Jackie Chan, I spent months to create the whole sequence. There were no fight sequences before; it's just a name. I have to choreograph it all by myself.

  Yuen Woo-ping

  Fighting, Past, Names

  Source: collider.com

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• I think certain periods of history don't get dealt with because I think historians, and it's their job, but they look back and look for patterns. They look for sequences and they look for reasons, and certain periods of history don't fit with the general pattern of 1500 to the 20th century, during which there's the creation of the United States. At this time of 1814, two nations who would eventually become close allies were at war with each other, so it doesn't quite fit.

  Steven Knight

  Jobs, War, Thinking

  Source: deadline.com

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• I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.

  Wade Eastwood

  Strong, Character, Fighting

  Source: puregrainaudio.com

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• The worst thing that can happen is when you have gone weeks and months into elaborate sequences and the storyline of the film changes and you find out they don't need it. Sometimes you don't shoot those sequences, or they have been shot and then get edited out of the sequence you've shot gets changed and needs to be redone. That can be hard. It's not heartbreaking, but you do tend to think, "Och, all that work and effort." But that's filming, you know? You put all of these modular things into the pot, and sometimes they don't all get used.

  Wade Eastwood

  Thinking, Effort, Heartbreaking

  Source: puregrainaudio.com

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• If I could get every single cancer genome sequence that has been sequenced; if I could ever put it in one repository, we have the capacity to do a million billion calculations per second. We'll be able to find out more in 10 minutes more than it would take 10 Nobel laureates 10 years to find out about the patterns of cancer and the cures for cancer.

  Joe Biden

  Cancer, Years, Patterns

  Source: www.pbs.org

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• A split second can ruin or boost the sequence.

  Deepika Padukone

  Splits, Ruins, Boost

  Source: www.indiawest.com

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• I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.

  James Wan

  Strong, Ideas, Vision

  Source: collider.com

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• And there's so much extra material. I mean, I've certainly read as you asked about do I read reviews and stuff, like people are like none of the jokes in the trailers are like in the movie. And it's like and we have whole sequences and scenes that weren't in the movie.

  Nicholas Stoller

  Mean, People, Stuff

  Source: collider.com

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• I never liked the extended cut personally because I like...we spend a lot of time figuring out our final cut. We test and test and test it, whatnot. Having said that, there's one sequence we're adding back into the movie for the extended cut that is pretty amazing that I think people are going to love.

  Nicholas Stoller

  Cutting, Thinking, People

  Source: collider.com

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• It's funny, because it's like the fight when you watch it, it's probably going to be like five minutes, but it's taken us like a month to shoot it so I think what was really interesting was that instead of going through an entire fight sequence, you're doing one or two moves over and over and over, so I'd say it's less exhausting than actually training, because you're not really constantly going over the choreography, like the whole entire thing with everybody. You're just doing that one part that they need in the shot.

  Ellen Wong

  Taken, Moving, Fighting

  Source: collider.com

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• You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.

  Jerry Garcia

  Thinking, Space, Musical

  Source: medium.com

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• The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.

  Jonathan M. Goldstein

  Taken, Different, Shifting

  Source: collider.com

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• In certain circumstances, financial markets can affect the so-called fundamentals which they are supposed to reflect. When that happens, markets enter into a state of dynamic disequilibrium and behave quite differently from what would be considered normal by the theory of efficient markets. Such boom/bust sequences do not arise very often, but when they do, they can be very disruptive, exactly because they affect the fundamentals of the economy.

  George Soros

  Would Be, Fundamentals, Normal

  "Theory of Reflexivity". George Soros' speech at the MIT Department of Economics World Economy Laboratory Conference in Washington, D.C., www.valuewalk.com. April 26, 1994.

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• It's great when somebody is able to communicate an actual shot sequence to you and you know the world you're inhabiting with that. It's literally a haunting tune.

  Dan Stevens

  Tunes, World, Haunting

  Source: collider.com

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• Most students of nature sooner or later pass through a process of writing off a large percentage of their supposed capital of knowledge as a merely illusory asset. As we trace more accurately certain familiar sequences of phenomena we begin to realize how closely these sequences, or laws , as we call them, are hemmed round by still other laws of which we can form no notion. With myself this writing off of illusory assets has gone rather far and the cobweb of supposed knowledge has been pinched (as some one has phrased) into a particularly small pill.

  William Crookes

  Writing, Law, Pills

  Society for Psychical Research (Great Britain), Society for Psychical Research (London, England), Henry Sidgwick, Balfour Stewart, Arthur James Balfour Balfour (Earl of) (1912). “Presidential Addresses to the Society for Psychical Research, 1882-1911”

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• In the Fragments, sensations are more profound and richly clarified through deliberate and explicit pattern; emotions are given a sequence and development such as the exigencies of practical life rarely permit.

  Alton Tobey

  Profound, Development, Patterns

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• Myriads of individuals, each one unique, live out their lives in rapt intercourse with one another, contribute their heart's pulses to the universal music, and presently vanish, giving place to others. All this age-long sequence of private living, which is the actual tissue of humanity's flesh, I cannot describe. I can only trace, as it were, the disembodied form of its growth.

  Olaf Stapledon

  Heart, Unique, Long

  Olaf Stapledon (1931). “Last and First Men, & Star Maker: Two Science-fiction Novels”, p.211, Courier Corporation

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• I never plan ahead, with the exception of the Amber books which had to proceed in sequence. But I don't really like to know what I'm going to be working on a year in advance. So I just sign blank contracts for books and whatever strikes me as a good idea is what I write about.

  Roger Zelazny

  Book, Writing, Years

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• For a woman as for a man, marriage might enormously help or devastatingly hinder the growth of her power to contribute something impersonally valuable to the community in which she lived, but it was not that power, and could not be regarded as an end in itself. Nor, even, were children ends in themselves; it was useless to go on producing human beings merely in order that they, in their sequence, might produce others, and never turn from this business of continuous procreation to the accomplishment of some definite and lasting piece of work.

  Vera Brittain

  Children, Men, Order

  Vera Brittain (2009). “Testament of Youth: An Autobiographical Study Of The Years 1900-1925”, p.408, Hachette UK

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