A Quote by Jeff Britting
Actually, one Anthem cue is a good example of the process. There is a four-minute sequence of music in Anthem, which underscores a prison sequence, and it lines up with five different, smaller scenes within one large scene.
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In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.
We've been doing work outside of the anthem since the beginning. Before the anthem even started, players were involved in these types of social justice issues. The anthem protests or demonstrations just brought eyes and attention to it.
And I respect the anthem. I would never kneel for it. We all come from different walks of life and think differently about the anthem and the flag and what that means.
I had so much backlash because, before in NXT, I used to come out with the Bulgarian national anthem. And people were like, 'Oh, why are you embarrassing the anthem?' How am I embarrassing the anthem? I'm from the freaking country.
That's the power of music, a key sequence or a chord sequence or even a note can do something to you physically that's uncontrollable.
I sang the National Anthem at Dodger Stadium - at a baseball game - which was crazy; there was, like, 60,000 people there, which is a huge deal in America - singing the National Anthem.
I've heard a lot of people say you need white athletes to get involved in the anthem protests. I've said before I'll never kneel for an anthem, because the flag means something different for everybody in this country, but I support my peers.
A random sequence is one that cannot be algorithmically compressed : the shortest description of a random sequence is simply the sequence itself.
When it came time to sequence the album, the new arrangements really demanded a different order. They were so different than they were before that the old sequence didn't work anymore.
In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.
I argued for years to have the Canadian anthem played at the US Open Racquetball Championship and on the 11th year, I got it. I teared up a bit when I heard the anthem. It was a highlight of my career, better than some of my wins.
The power of music, narrative and drama is of the greatest practical and theoretical importance. ... We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music.
I personally think our national anthem is not patriotic enough. There is another poem by Dwijendralal Ray called 'Dhono Dhanne Pushpe Bhora,' which is more soul-stirring as a national anthem.
The important thing is that we now have the tools to sequence all kinds of animals and plants and microbes - as well as humans. It is not important that we didn't actually finish the human sequence yet.
Ayn Rand called her novella Anthem a "hymn to man's ego." My approach to Anthem the play was to provide the story a further dimension through music and sound. The work is now larger than a hymn. It's really "spoken opera."
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
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