All great inventions emerge from a long sequence of small sparks; the first idea often isn’t all that good, but thanks to collaboration it later sparks another idea, or it’s reinterpreted in an unexpected way. Collaboration brings small sparks together to generate breakthrough innovation.
I did what we call dry for wet effects, some of the miniatures work and two animation sequences.
I plan to rearrange the alphabetical order because i think it has a very big error on the parts of the sequence of some letters. For example, I have just discovered that U and I should be together.
Titled players appeared to be trotting out game after game in which the same old hoary opening sequences, memorized out to fifteen, twenty, or even more moves, were repeated endlessly. True novelties were becoming scarcer, and sometimes these 'opening' novelties didn't appear until well into the middlegame. (A master-level friend once proudly showed me a novelty he'd discovered at move twenty-seven of a very well-trodden chess opening, and it's said that even as far back as the 1950's Mikhail Botvinnik had some openings memorised past the thirtieth move).
Reminiscences, even extensive ones, do not always amount to an autobiography. For autobiography has to do with time, with sequence and what makes up the continuous flow of life. Here, I am talking of a space, of moments and discontinuities. For even if months and years appear here, it is in the form they have at the moment of commemoration.
No, in Lethal Weapon I was a taxi cab driver that Mel jumps in front of the taxi and pulls me out of the car and steals the taxi. Then I did some other indie driving for some of the car sequences.
A man must be big enough to admit his mistakes, smart enough to profit from them, and strong enough to correct them. This sequence is something that all achievers have in common. They do not see a mistake is as their failure; rather it is simply a learning experience. Achievers view a mistake as an opportunity to do something over again and do it right the second time. A mistake is simply the price they pay to achieve success.
I have always lived my life by making lists: lists of people to call, lists of ideas, lists of companies to set up, lists of people who can make things happen. Each day I work through these lists, and that sequence of calls propels me forward.
It was a roller-coaster process. For a long time I had no idea what I was doing. I wasn't writing with an outline. And, rare for me, I wrote scenes out of sequence. . . . I didn't understand the play when I wrote it. It was something I'd give in to. It happens to me periodically. I give over and write whatever comes to me and I don't know what it means and then I do. It's thrilling.
Working on a film, the setup for an action sequence takes a long time, and we need to shoot the scene many times to get different angles.
As was predicted at the beginning of the Human Genome Project, getting the sequence will be the easy part as only technical issues are involved. The hard part will be finding out what it means, because this poses intellectual problems of how to understand the participation of the genes in the functions of living cells.
Usually in a battle sequence when a bomb is going off, you forget you're acting.
If we can put a man on the moon and sequence the human genome, we should be able to devise something close to a universal digital public library.
Usually with this genre the first thing that happens is a good fight sequence to show that you're in good hands. So we broke that rule. I think a lot of that comes from the western audience.
I don't know how many thoughts we have a second, but it's quite an amazing number, and just to pin down the appropriate sequence of those, all you really need is a pencil and a piece of paper.
I wanted to be a genetic engineer. That was my goal in college. I wanted to figure out what the codon sequence was that causes replication in a cardio myopathic virus. That was my goal.
Mathematicians have tried in vain to this day to discover some order in the sequence of prime numbers, and we have reason to believe that it is a mystery into which the human mind will never penetrate.
That's the way the mind works: the brain is genetically disposed towards organization, yet if not controlled, will link even the most imagerial fragment to another on the flimsiest pretense and in the most freewheeling manner, as if it takes a kind of organic pleasure in creative association, without regards to logic or chronological sequence.
One of the things I do take some pride in is that if you had never read an article about my life, if you knew nothing about me, except that my books were being set in front of you to read, and if you were to read those books in sequence, I don't think you would say to yourself, 'Oh my God, something terrible happened to this writer in 1989.'
And now the sequence of events in no particular order.
It is our task to inquire into the causes that have brought about the observed differentiation, and to investigate the sequence of events that have led to the establishment of the multifarious forms of human life
We do NOT know the past in chronological sequence. It may be convenient to lay it out anesthetized on the table with dates pasted on here and there, but what we know we know by ripples and spirals eddying out from us and from our own time.
You wouldn't die in here, nothing ever dies in here, but if you stayed here for too long, after a while just a little of you would exist everywhere, all spread out. And that's not a good thing. Never enough of you all together in one place, so t here wouldn't be anything left that would think of itself as an 'I.' No point of view any longer, because you'd be an infinite sequence of views and of points.
My castings sort of go in phases. There'll be several icy professional parts - a lawyer or a cop. And then there'll be the intelligent-but-wounded group and then the period things. It goes in sequence.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
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