Sequence Quotes - Page 15

• 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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• 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've consciously taken on material that's a bit too much for me but not an overreach. The first movie, just about performances. 'The Town,' I learned how to work broader material, develop tension, direct bigger scenes, action sequences. 'Argo,' I experimented with film stock, widened the scope of my geography.

  Ben Affleck

  Taken, Too Much, Firsts

  "'Argo' director/star Ben Affleck grows smarter and more ambitious with each picture". Interview with Christopher Borrelli, www.chicagotribune.com. October 10, 2012.

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• Slowly I began to realize that the bells and the confinement, the crazy sequences, the age-segregation, the lack of privacy, the constant surveillance, and all the rest of the national curriculum of schooling were designed exactly as if someone had set out to prevent children from learning how to think and act, to coax them into addiction and dependent behavior.

  John Taylor Gatto

  Children, Crazy, Thinking

  John Taylor Gatto, Thomas Moore (2013). “Dumbing Us Down: The Hidden Curriculum of Compulsory Schooling”, p.19, New Society Publishers

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• In talking to girls I could never remember the right sequence of things to say. I'd meet a girl and say, Hi, was it good for you too? If a girl spent the night, I'd wake up in the morning and then try to get her drunk.

  Steve Martin

  Girl, Morning, Night

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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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• 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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• 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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• 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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• 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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• 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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• 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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• 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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• 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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• 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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• I'm involved with every single thing that they do as far as just being aware, and then they ask my opinion. I'm involved in the sequence reviews and some of the animation reviews and character designs and things like that. I give my input on that movie as well.

  Klay Hall

  Character, Giving, Design

  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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• The calamities of tragedy do not simply happen, nor are they sent; they proceed mainly from actions, and those the actions of men.We see a number of human beings placed in certain circumstances; and we see, arising from the co-operation of their characters in these circumstances, certain actions. These actions beget others, and these others beget others again, until this series of inter-connected deeds leads by an apparently inevitable sequence to a catastrophe.

  A. C. Bradley

  Character, Men, Numbers

  A. C. Bradley (2016). “Shakespearean Tragedy”, p.13, A. C. Bradley

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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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• 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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• The drawings need to be strong enough to stand alone, and not just work as part of a sequence.

  Richard McGuire

  Strong, Drawing, Needs

  Source: www.gq-magazine.co.uk

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• I loved Road Warrior the first time. I saw The Road Warrior before I saw Mad Max, you know, I saw it in reverse order. And so I was, I've always been a fan of George Miller. This sequence I think got storyboarded after Fury Road came out I think as I recall. So I think, you know, we were inspired [making Maora].

  John Musker

  Warrior, Thinking, Order

  Source: www.slashfilm.com

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• I've done a bit of live action before but the fight sequences, the wire work and the physical regime were taken to another level [ in Doctor Strange].

  Benedict Cumberbatch

  Taken, Fighting, Doctors

  Source: www.empireonline.com

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• There is a sequence of events in our lives and so there's a temporal aspect to our experience that brings by itself, sense into the story. In other words, you were not walking before you were born and you were not doing X and Y before you did something else first. So there's a sequencing of events that imposes a certain structure to the story.

  Antonio Damasio

  Firsts, Events, Stories

  Big Think Interview, bigthink.com.

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• Even with some of the best action films like 'The Bourne Ultimatum,' which is a great action film with a great chase sequence, so much of it is computer-generated. But that doesn't bother me. I think it works. It's fantastic.

  William Friedkin

  Thinking, Action, Computer

  "Inside the Forgotten Movie Masterpiece 'Sorcerer'". Interview with Bryan Reesman, www.esquire.com. April 30, 2014.

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