A Quote by David Fizdale
I really want to institute a culture that has nothing to do with shots or minutes or anything like that. It starts with a foundation of service.
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I do the final fitting because the client wants me there. They're not spoilt, they really understand that you're very busy, but they just want you to say what you think - for just ten minutes. They really want to know your opinion because it really is a service at the end of the day, a luxury service.
We live now in a global culture where anything that happens in a place that's 90 minutes from your shores really affects you.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
When you're playing spot minutes, it's harder to hit those shots. But if you're getting volume shots, now it's a lot easier to get a rhythm.
There's nothing like sitting in a completely quiet room, and then the strings start up. It's like when you go to the cinema - the first two or three minutes of any film are amazing. Because the screen is so big. The scale. Directors can pretty much do anything for those first few minutes.
The director of the institute where I was working apologized about these young, enthusiastic researchers when the World Bank visited because he was afraid the institute would lose the World Bank consultancies.I went back home and started the Research Foundation for Science, Technology, and Ecology?an extremely elaborate name for the tiny institute that I started in my mother?s cow shed. My parents handed over family resources and said, ?Put them to public purpose.? That?s how I survived.
No one really starts anything new, Mrs. Nemur. Everyone builds on other men's failures. There is nothing really original in science. What each man contributes to the sum of knowledge is what counts.
The raids on Freedom House, the National Democratic Institute and International Republican Institute, the Adenauer Foundation, and other groups helping Egyptians move toward respect for democratic politics and human rights were of a piece with the practices of Hosni Mubarak - only bolder and more repressive.
I don't want anything. I don't want a job. I don't want to be respectable. I don't want prizes. I turned down the National Institute of Arts and Letters when I was elected to it in 1976 on the grounds that I already belonged to the Diners Club.
In British sitcoms, you can get five minutes of nothing before the story starts.
When Ray Charles is concentrating he's like a piece of granite, nothing twitches, nothing, ... He sat for 25 minutes solid like that, like a stone, and I thought, 'Oh my God, if he doesn't like it I'm dead.' ... And then finally, after 25 minutes he started to talk back to the screen. I heard him say 'That's right. That's the truth.' .
Because if you have a strong foundation like we have, then you can build or rebuild anything on it. But if you've got a weak foundation you can't build anything.
I really love doing nothing. I really love just being at home and taking a couple of days, you know, doing nothing. You know what I mean? Just getting up, being around the house, going outside the back yard, coming back in; I really like to do nothing because I travel a lot. There's a lot of travelling. There's a lot of on the phone all the time. There's a lot of looking at papers and reading things and so you don't want to read magazines and you don't want to do anything; you don't want to read books, you just want to just kind of shut down a little bit.
Nothing disciplines the inordinate desires of the flesh like service, and nothing transforms the desires of the flesh like serving in hiddenness. The flesh whines against service but screams against hidden service. It strains and pulls for honour and recognition. It will devise subtle, religiously acceptable means to call attention to the service rendered. If we stoutly refuse to give in to this lust of the flesh, we crucify it. Every time we crucify the flesh, we crucify our pride and arrogance.
But in AIA, Anna decides that being a person with cancer who starts a cancer charity is a bit narcissistic, so she starts a charity called The Anna Foundation for People with cancer Who Want to Cure Cholera.
You get the most 3D effect when it starts about three to four seconds, that's when it starts feeling 3D. And then what you do, quick shots are always flat.
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