Everything’s always got to be character-based. We know we can’t, if we’re sitting in the editing room, watch the sequence for more than 20 seconds without a character having a point of view or moving the action forward; my brain just shuts down, or I start thinking about my laundry.
In that long sequence, when Lawrence enters in the desert to rescue a lost man, Lean listened the music I wrote and wanted to extend the scene to let my work stay completely.
A final proof of our ideas can only be obtained by detailed studies on the alterations produced in the amino acid sequence of a protein by mutations of the type discussed here.
We’re collecting about 100,000 telomere lengths in saliva samples and then looking at how those relate to both the extensive longitudinal clinical records that Kaiser is collecting and the genome sequence variations.
It’s alright to make an actor sing if the director already has an ideal sequence in his film. But I am totally against bringing in actors to sing in every film without any context and just for marketing purposes.
Poe’s saying that a long poem is a sequence of short ones is perfectly just.
All the fossils that we have ever found have always been found in the appropriate place in the time sequence. There are no fossils in the wrong place.
And now the sequence of events in no particular order.
I approach an action sequence almost like a mathematical problem. Sometimes you get these action sequences that you read and go, ‘Oh my God, this is huge, how do I do it?’ and I go, ‘Just a step at a time. Sit down and plot each piece of it out.’
The events in our lives happen in a sequence in time, but in their significance to ourselves they find their own order the continuous thread of revelation.
Character, story and plot are affected by any action sequence so you have to really design them accordingly.
It’s weird – on almost every film I’ve worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
I feel like I’m on crutches when I have to go by the dialogue sheet. I want the artiste’s natural, spontaneous reaction and vocabulary so that it adds a genuine flavor to the scene without which the sequence becomes entirely cinematic.
I like to be very physical: Any sort of fight sequence is a dream to me.
There are some sequences in films that I think work filmicly, that stand out to me, but that’s much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything comes together.
Leonardo Fibonacci, the great 13th century Italian mathematician (1175-1250) created the ‘Fibonacci sequence’ to explain behavior in nature mathematically. History has it that the first question he posed was how many rabbits would be created in one year starting with one pair.
In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
Even if you’re specific about the character of the song, it’s more exciting to place them, juxtapose them in such a way as to make an adventure out of the sequence of the songs.
The thing that everyone remembers about ‘Bambi’ is that moment. ‘The Lion King,’ took it to quite an extreme because it was an action sequence: his father was killed in a wildebeest stampede – I related, because mine was, too.
I really don’t storyboard unless it’s an action sequence of some kind, but I plan carefully.
