A Quote by Joe Alwyn

Be it 120 frames or 24 frames or film or theatre, you're trying to be a fully formed human being and trying to be honest. — © Joe Alwyn
Be it 120 frames or 24 frames or film or theatre, you're trying to be a fully formed human being and trying to be honest.
Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.
Death comes in a flash, and that's the truth of it, the person's gone in less than 24 frames of film.
A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement.
In film, you have the luxury of accomplishing what you need in 24 frames every second. Comics, you only have five or six panels a page to do that.
Animators have to live life 24 times as long as we do - every 24 frames of a second.
I used to collect frames. I've been collecting accessories since I was 11-years-old, creeping around flea markets and sales and everything. Whenever I saw unusual eyeglass frames, I bought them.
The cinema is truth 24 frames-per-second.
In comics the reader is in complete control of the experience. They can read it at their own pace, and if there's a piece of dialogue that seems to echo something a few pages back, they can flip back and check it out, whereas the audience for a film is being dragged through the experience at the speed of 24 frames per second.
I couldn't tell if any frames were removed. Seen as a whole it shows that I have seen. Seeing you have 18 frames a second you can take out one or two and I couldn't tell.
48 frames per second is something you have to get used to. I've got absolute belief and faith in 48 frames... it's something that could have ramifications for the entire industry. 'The Hobbit' really is the test of that.
View life as a series of movie frames, the ending and meaning may not be apparent until the very end of the movie, and yet, each of the hundreds of individual frames has meaning within the context of the whole movie.
We need to get away from labels. That's the way people talk in Washington, D.C. - through labels, through ideological frames, through partisan frames.
What we already know frames what we see, and what we see frames what we understand.
You're shooting the quarterback, and he drops back to pass the ball, and you see the ball leave his hand at 10 frames per second. At 7 frames per second, the ball's already gone.
It's the frames which make some things important and some things forgotten. It's all only frames from which the content rises.
If I walk into the editing room, it's six hours lost. I'm massaging frames. I'm, like, 'Oh, take six frames off that shot. Hit the music cue right there.' I will drive everybody crazy if left to my own devices in that room. So I try to do everything I can by staying out of the way.
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