A Quote by Hidetaka Miyazaki
From the initial design stages of 'Sekiro: Shadows Die Twice,' we had the idea of the player being able to move dynamically through a detailed, multi-layered map. We found that a 'shinobi' type character was the key to achieving this in a way that was both realistic and cool.
Related Quotes
The grappling hook allows for versatile and dynamic movement through the map, while a variety of shinobi-esque tools allow for all sorts of tricks and finesse. These are very important elements of 'Sekiro: Shadows Die Twice''s gameplay and the protagonist's nature.
Perhaps the tranquillity of 'Deracine' heightens the violence in 'Sekiro: Shadows Die Twice,' while the intensity of 'Sekiro: Shadows Die Twice' makes 'Deracine' all the more serene.
'Sekiro: Shadows Die Twice''s story is one of fate and growth.
It's true that there was a lot of influence from 'Tenchu.' We even pondered making 'Sekiro: Shadows Die Twice' a part of the 'Tenchu' series at first.
I believe there are aspects of the narrative that become easier to understand by shifting the focus of the story to the characters. Illustrating growth and change in the protagonist becomes a simpler process, and these changes are, in fact, one of the themes of 'Sekiro: Shadows Die Twice''s story.
Great design is a multi-layered relationship between human life and its environment.
Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.
I value multi-layered artwork that warrants a second glance, so I try my best to achieve that with my own work. If something is solely pretty or solely disgusting, you look at it once and get the gist and move on. If it's a mix of both, it's potentially more interesting.
I'm trying to break the stereotypical role now of the Theo-type character because, in my post-'Cosby' life, as I call it, I don't want to be known as just the kind of guy who can play a Theo Huxtable-type character. I want to be known as being able to do more things, being able to stretch.
Pu La's writing is multi-layered, multi-faceted, and deep.
Recently, I wrote that feminism was 'finding a way of being a girl that doesn't hurt' a way for girls and women to re-negotiate our understanding of the world so that we can become a full and equal part of it rather than just a means of decorating it; to move towards a place where the mere act of being a girl isn't used against us as both a threat and an obligation. Through feminism, I have found a peace of sorts from the sense that my femaleness required a constant apology so that I might be given permission to pass through these narrow corridors.
I'm realistic. And realistically, I'm not that type of player that earns that type of money any more. So I'd be willing to take a little cut to get a couple of extra years.
I think I'm drawn to more villain-type characters, because it's so cool to get to say all the things you want to say. In Hollywood, you get to this position where you have to bite your tongue so much. You take all your experiences of not being able to say what you really want to say, and channel that through your character.
Whatever plane our consciousness may be acting in, both we and the things belonging to that plane are, for the time being, our only realities. As we rise in the scale of development we perceive that during the stages through which we have passed we mistook shadows for realities, and the upward progress of the Ego is a series of progressive awakenings, each advance bringing with it the idea that now, at last, we have reached "reality"; but only when we shall have reached the absolute Consciousness, and blended our own with it, shall we be free from the delusions produced by Maya [illusion].
I think there's a time to work, and everyone has to kind of adjust. And then there's a time to relax, and be the mom or take the kids on vacation when you need to wind down. So it's a matter of planning, and being able to map out your year or your week or let's start with the day. It is just being multi-tasking and being available.
I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.
Related Authors
Alejandro Gonzalez Inarritu Quotes
Mexican
Director
Ava DuVernay Quotes
American
Director
David Lynch Quotes
American
Director
George Lucas Quotes
American
Director
Guillermo del Toro Quotes
Mexican
Director
John Waters Quotes
American
Director
Judd Apatow Quotes
American
Director
Martin Scorsese Quotes
American
Director
Nicolas Winding Refn Quotes
Danish
Director
Oliver Stone Quotes
American
Director
Peter Jackson Quotes
New Zealander
Director
Quentin Tarantino Quotes
American
Director
Ridley Scott Quotes
British
Director
Steven Spielberg Quotes
American
Director
Werner Herzog Quotes
German
Director
Woody Allen Quotes
American
Director