A Quote by Wesley Morris
Part of what's mesmerizing about 'The Mechanics of History' is its physical eloquence - how dancerly it is. The men don't fall; they float. And when the trampoline restores them to the staircase, they move at a half speed. Cinema, they say, is 24 frames per second.
Related Quotes
Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.
The cinema is truth 24 frames-per-second.
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.
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.
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.
The speed of her tongue is not correctly calculated; the speed per second of her toungue should be slightly less than the speed per second of her thoughts -at any rate not the reverse.
Animators have to live life 24 times as long as we do - every 24 frames of a second.
It turns out all molecular and biological systems have speeds of the atoms move inside them; the fastest possible speeds are determined by their molecular vibrations, and this speed is about a kilometre per second.
I don't know what to say to people. It's become so big. It's become part of the cultural environment. For the first and second Twiglight, I knew exactly what to say to people. If you don't know what the story is by now, then you've probably never been to the cinema before. How about, "Why not go to the cinema for once?" I don't know.
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.
The railway was part scalpel, part movie camera, slicing the city open, parading its inner workings at fifty frames per second. It was on the S-Bahn that she felt least abandoned, as if the act of travelling turned back the clock, and brought her nearer to the future she had lost.
Comics are essentially films with fewer frames per second.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
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.
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. It's more like if you did an illuminated novel. I think both of those things should be running at full blast, not less of both so it becomes an easier thing. I think it should be twice as dense. That's just what interests me.
Contours on the second half of a long putt have more impact on how the ball rolls because it's going slower. Adjust your speed if that last part is playing uphill or downhill. Don't get fooled by an early slope or break.
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