A Quote by Celeste Ng
No reader wants to sit through the same scene four times in a row, unless they're radically different.
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If you lose three or four in a row, people start talking about retirement. They are not used to this sport like they are used to tennis. If you take a look at how many times Rafael Nadal and Roger Federer lost, it's all part of the game. Soccer is no different: teams go through bad times and then rise again.
The stage is the opposite: you are talking loud so you can project to the back row and you know the whole play. In a movie, you are scene-to-scene; you only know the purpose of that scene. On the stage, that is artistic science. It is real, it is loving, it is truthfully you. It is two different formulas to make two different art pieces, but it is all about truth.
A writer often wants to change a reader’s perception about the world, which is a political act. But we have to work through character, so helping the reader to feel close to fictional characters is the gate through which we have to usher the reader.
When you sit down to write a film, you direct it in your head. If you are writing a scene, you are watching the scene. And maybe it's different when you are writing a novel because you are thinking of it in terms of being read. But films are only consumed one way - through the eyes and the ears.
Reading is one of the most individual things that happens. So every reader is going to read a piece in a slightly different way, sometimes a radically different way.
I always have confidence, whether I miss four in a row or make four in a row, that the next one's going in. To a coach, sometimes that might not make sense.
Don't bother doing something unless you're radically different from the competition.
For when we say that what is different is different, we affirm that what is different is the same as itself. For what is different can be different only through the Absolute Same, through which all that is is both the same as itself and other than another.
You're never going to release the next album and have it be different from your other two, three, four, five albums. People give them a hard time, but it's like, 'I'm an artist, I'm trying to grow. I don't want to have the same album for 10 albums in a row!' Same thing for a martial artist.
When you are overworked and exhausted, there is a sense of kind of delirium and that's why I think architects do all-nighters and they kind of do those deadlines. For four days I remember doing four nights in one row with no sleep. I mean nobody, unless you are crazy, would do that, but you are totally focused on the project.
'Evita' was four pieces of slick paper and a record album. It's the most scary, to sit down and dictate a musical scene by scene. It was a musical unlike anything I'd ever seen before myself.
I once met a person three nights in a row and she told me the same story three times over. Unless you're discovering a new continent, there is no way you have anything new to tell people you bump into serially.
You cannot keep doing the same things. According to the situation, your role changes in one-day cricket, especially in a phase like the Powerplay. If I bowl four spells, four times I will be playing a different role.
'Mistresses' is about the lives of four women, each going through different versions of infidelity. Their longtime friendship is what gets them through extremely challenging times.
I compare field goal kicking to putting in golf. Both demand concentration and confidence. You make four or five good putts in a row and now you have the confidence that you are playing 'em right. It's the same way with kicking. You drive a few through the uprights and then you have convinced yourself that everything you kick should go through.
We have been through this biennial convulsion four or five different times over the past 10 or 12 years, and now it appears that we are going through this quiet agony all over again.
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