I knew that this was the movie in which a lot of the cinema version of Burton-esque first started. So, I knew that there were things that were hugely important to him for it, but it didn't really feel that different than working on any other of these projects.
When you're doing an animated series, you tend to pitch storyboards. You write a script and then you draw a comic version of that script and put it up on big boards, and then you pitch it to a big room of executives and writers.
I think we're really hungry for family in America, especially when I feel like people are really pulled apart from their families. So, we were interested in the idea of what the extreme version of that would be.
Tone is an interesting question because part of the inspiration of looking to song is that Geisel himself - when you think about his animated version of The Grinch - embraced the idea of using songs in unconventional ways, as part of conveying a narrative. The use of music, in this film, is very unconventional, which I love.
'Revolution' . There were two versions of that song but the underground left only picked up on the one that said 'count me out'.
If you want to do your version, go off and write it. You bring your knowledge to it, and you can use that to shape it and color it, but it's someone else's version of that character. You're not actually playing the real person.
I was desperately unhappy with it [Blade Runner]. I was compelled by contract to record five or six different versions of the narration, each of which was found wanting on a storytelling basis. The final version was something that I was completely unhappy with. The movie obviously has a very strong following, but it could have been more than a cult picture.
It's the ones that deal with the inner fear, the unknown realms and the mysticisms that are scary. You had that in the Carpenter version, and you have that in this prequel. It's paying homage, very much, to that.
I remember in the Carpenter version, you got acquainted with the characters and really knew them. It was a real character piece. Each actor was serviced in the movie, and we tried to do that in this movie as well. I like the fact that there was a European, first-time director. I'd known of him because I'm from Europe. I knew him as a commercial director and thought one of his commercials was great. I thought it was an interesting take on such a big-budget cult classic.
I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.
I have no reason as a director to have films go up in versions that I don't like. My only experience of film after ten years is honestly that if a picture doesn't get second-guessed you're looking at four Oscars, and if a picture does get second-guessed, you're not. I've got an advanced degree in that lesson.
I'm not an actor who approaches films doing a lot of research. I do zero research, unless it's a film where I'm playing a mock version of someone who already existed. Then, you've got to do a lot of research.
For me, it's just a normal artistic endeavour to explore the dark side. Certainly, I'm not alone in it. Artists generally don't like to accept the version of reality that society and culture hand them. They want to know what's really going on. So you're always looking in the ceilings, under the floorboards and behind the walls, trying to find the mechanisms, the structures, and the truth. I find that often leads you into some dark places.
When you're sending emails, you live and die by your subject line. Making it personal or funny can increase your open rate 10 times or more. At the very least, try to pitch some value rather than pointless bragging. 'Work Faster!' is better than 'Version 10.4 now available!'
A hierarchical society is only possible on the basis of poverty and ignorance, this new version is the past and no different past can ever have existed. In principle the war effort is always planned to keep society on the brink of starvation. The war is waged by the ruling group against its own subjects and its object is not the victory over either Eurasia or East Asia but to keep the very structure of society intact.
I feel close to Lloyd in 'Say Anything'. He was like a super-interesting version of me. Only I'm not as good as him. Whatever part of me is romantic and optimistic, I reached into that to play Lloyd.
It's funny: when people always talk about the importance of role models, I used to think that was so exaggerated, but as I get older, I start to realize I don't feel that way so much anymore. If you see somebody like you who's doing something, an older version of what you are, it does make you feel like it's more possible.
I'm like the female version of George Clooney in 'Up in the Air.' I have to have an eye mask, and Amore Pacific has this cream face mask that's moisturizing. Moisture is so important in the stuffy, dry air on a plane.
Good speakers usually find when they finish that there have been four versions of the speech: the one they delivered, the one they prepared, the one the newspapers say was delivered, and the one on the way home they wish they had delivered.
I don't think there's a... boundary between digital media and print media. Every magazine is doing an online version.
Any version of Windows is going to have lots of great new things that people use and things that are tough.
There are broader and narrower definitions of the new economy. The narrow version defines the new economy in terms of two principal developments: first, an increase in the economy's maximum sustainable growth rate and, second, the spread and increasing importance of information and communications technology.
Not long time ago there was a striking example of the extent to which English has diverged: a television company put out a programme filmed in the English city of Newcastle, where the local variety of English is famously divergent and difficult, and the televised version was accompanied by English subtitles!
UNIVAC: a device, which contained 20,000 vacuum tubes, occupied 1,500 square feet and weighed 40 tons; there was also a laptop version weighing 27 tons.
If you could use the Internet somehow to see how a Fiji sailor is doing, rather than having to read a text version of it somewhere a day later, that would be great.
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