A Quote by Bear McCreary

I've always approached television from a little more cinematic perspective, if not a much more cinematic perspective because of the shows I have been fortunate enough to work on.
I always approached the sport from a more cerebral, analytical point of view, a management perspective. I was taking all business classes there at Georgetown, I really enjoyed that. I always sort of looked at football from that perspective.
I'm not trying to write cinematic novels, but I have been told several times that my style is cinematic.
A book and a movie are different animals. You need a cinematic perspective to be involved in the motion pictures. And this is something I lack.
When you're writing a script you have the option to embellish on life or switch the order of events or make it generally more cinematic. I would stick too closely to my own experience and not necessarily think about the fact that it needs to have an event happen. Realising that I could channel my own experience into a story that was slightly more cinematic was a very important moment for me - allowing myself to accept that the kind of screenwriting I'm doing is a work of fiction.
Purely cinematic film ... actually the purest expression of a cinematic idea.
There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses.
Every opera, because every opera is a unique slice of a particular perspective, historical perspective and psychological perspective if not musical style, and so forth, they all present different challenges. Some can be musically very challenging, some can be psychologically more challenging. There is always something that requires a pretty specific amount of energy and attention.
I love creating bold, cinematic moments with my runway shows, so the idea of being a film director has always been appealing to me.
My perspective is hard because I look at wardrobe from very much a guy's perspective. You look at my closet and I have pairs of black jeans and five button-downs, but one's silk, one's cotton. They all are slightly different, so that's my perspective.
As I started to develop as a director, I wanted to do projects that were inherently more cinematic, where the freight was not so much in the dialogue, where it would be carried more by the camera.
I studied painting, sculpture and video in both undergrad and grad school, but I've always been more interested in music and I've always admired music that can evoke a cinematic experience.
I have gained a lot of perspective from the places I have traveled too and the people I have been fortunate enough to meet.
What is missing in a lot of urban music is perspective. You hear a lot of regurgitated perspective. It's a lot of: out at the club. Had drinks. Patrón. Big booties. It's this regurgitated idea of living in this, I don't know, one-night-stand moment that always starts at the club and Patrón. And so perspective, perspective, perspective is what I'm an advocate of.
I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.
What I like about 'Paper Girls' in particular is that, because we're approaching it more from a female perspective, we're able to consider the emotional states of these characters a little bit more and think more of their interiority.
What I like about Paper Girls in particular is that because we're approaching it more from a female perspective, we're able to consider the emotional states of these characters a little bit more, and think more of their interiority.
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