A Quote by Craig Horner

You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes. — © Craig Horner
You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes.
Being a winger or a wide mid, I have to run continuously for 90 minutes, which not only takes endurance but also strength in my legs to be able to be explosive for 90 minutes. I think weight training has really allowed me to sustain for those 90 minutes.
That is one thing I really hate about working in TV - you have to shape episodes to exact time-lengths, do like 22 minutes, and it is just so against what you are making.
You really have to keep people interested, at all times, until the punch comes. You can do that with a film that lasts 90 to 100 minutes. That's very difficult to do at 160 minutes.
I don't really distinguish between a fictional hero and a real life hero as a basis for any comparison. To me, a hero is a hero. I like making pictures about people who have a personal mission in life or at least in the life of a story who start out with certain low expectations and then over achieve our highest expectations for them. That's the kind of character arc I love dabbling in as a director, as a filmmaker.
All of us start from zero. We take the right decision and become a hero.
I think you should start the first 90 minutes of Raw with a Paul Heyman promo and the second 90 minutes of Raw with Brock Lesnar wiping out the entire roster. But then again, that's my vision for Monday Night Raw.
Would you rather suffer 90 minutes or 90 years? (Regarding a Bikram Yoga session that takes exactly 90 minutes.)
Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
Ten episodes goes by really quickly, especially when you've got a really tough shooting schedule of seven-day episodes.
I was fortunate enough to do an HBO show, 'Rome,' in which my arc was built in by historical fact, and over the course of 22 episodes, we were able to tell the stories of these people. We had a beginning and middle and end, and as we went on, you changed every week.
In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.
It's not about creating 22 episodes indefinitely for as long as you can do.
Really, the arc for the first season of 'Luke Cage' is 'hero.' How does one become a hero? What does one feel about being a hero? How does one live their life and eventually go through the Elizabeth Kubler-Ross stages of grief until the acceptance is, 'Fine, I'm a hero.' This is what it is.
Although there were only about 24 episodes made it seems to run forever. They take a couple of episodes and put them together, making a feature film once in a while. I had good fun making the series.
If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.
I really don't care if I start, if I come off the bench, if I'm playing long minutes or short minutes.
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