A Quote by Genndy Tartakovsky
Going as far back as 'Dexter's Lab,' we've always had these sequences with no dialogue. The interesting thing is those sequences got the biggest reactions.
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There are certain things in the scripts that need to be planned: you know, big stunt sequences, battle sequences... you can't improvise that stuff. You can improvise when there's just two of you standing in a kitchen and the most dramatic thing that's going to happen is someone's going to open the fridge.
The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.
I won the Oscar for 'Raging Bull' for those fight sequences. If you look at those fight sequences, those were so incredibly storyboarded and shot in an incredible way - that is the conception a good director has to bring.
Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.
Like a film, dance steps or sequences are creative works. If a script can have a copyright, and so can songs, why can't dance sequences as well?
We knew that all the protein-coding bits of genes do is to produce protein - they have to have instructions to turn them on and off. Those sequences lie well outside the protein-coding sequences, sometimes thousands, tens of thousands of bases away.
I do think that as I said before the canvas of action sequences and the way in which the sequences unfurl will be very unique and will be different than any movie we've made before, and that's what makes it interesting, what makes it [Doctor Strange] special, and what makes it worth pursuing, and worth bringing to life for the first time.
If I had to write a rough draft, all the way through and then go back and start over, I probably would just stop writing. I wouldn't find that interesting. I would feel that I had committed so many things to the paper that I couldn't easily undo because one thing leads to the next, the interconnectedness, the sequences would make it very hard to change something that simply didn't work.
The worst thing that can happen is when you have gone weeks and months into elaborate sequences and the storyline of the film changes and you find out they don't need it. Sometimes you don't shoot those sequences, or they have been shot and then get edited out of the sequence you've shot gets changed and needs to be redone. That can be hard. It's not heartbreaking, but you do tend to think, "Och, all that work and effort." But that's filming, you know? You put all of these modular things into the pot, and sometimes they don't all get used.
Most of music videos were short films - they had dialogue, action sequences. I shot with cranes and helicopters. I wanted to created cinema-like moments.
I always enjoy the battle sequences. It's like going to the playground.
I prefer to work the old-fashioned way. I trie to do everything or most of his action sequences practically, because I feel that while added effects or the VFX process allows for flashier sequences, I feel that it lacks the energy we see in practical effects.
When you click on a link, you are replicating the string of code that it links to. Replication of code sequences isn't life, any more than replication of nucleotide sequences is, but we know that it sometimes leads to life.
I am committed now to one thing: lyric sequences. I want the intensity of lyric, but the scope and arc of narrative. so, I think I'll just write sequences for the foreseeable (the Beloved sequence doesn't have a 'plot' so I can just keep adding poems to it, it's like a giant bag I can just put beloved lyrics into - I think there are about 300 of them i've published by now).
I've got this thing where I think great shows have great credit sequences. I don't know why that is, exactly.
Most fight sequences on a television show, probably any action adventure show that you know of, if you asked them how long they probably spend, [it's] one or two days doing the fight. Where we were spending eight days concurrently with an episode doing our fight sequences.
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