A Quote by Paul Thomas Anderson
I actually enjoyed the struggles that we had trying to shape 'Blood', to get the pacing right, the rhythm of it.
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Humor is the hardest thing to do. Action is so much easier, because you're just trying to establish the mood, and a pacing, and a rhythm, and an energy. Where, in humor, comedy is so subjective.
I happen to be extremely left-brained; my instinct is to draw a chart rather than a picture. I'm trying to get my right-brain muscles into shape. I actually think this shift toward right-brain abilities has the potential to make us both better off and better in a deeper sense.
I am trying to intensify my feeling for the organic rhythm in all things, trying to establish a pantheistic contact with the tremor and flow of blood in nature, in animals, in the air - trying to make it all into a picture, with new movements and with colours that reduce our old easel paintings to absurdity.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
There is a rhythm to a good joke, a certain pacing.
I think any time an offense struggles with developing a rhythm, struggles with scoring points, I think the first thing you have to examine is the quarterback.
The point here is that I enjoyed singing. I enjoyed the rhythm of it. I grew up listening to Louis Prima, who was also rhythmic.
Life is about rhythm. We vibrate, our hearts are pumping blood, we are a rhythm machine, that's what we are.
Life is about rhythm. We vibrate, our hearts are pumping blood, we are a rhythm machine, that’s what we are.
Where I come from we say that rhythm is the soul of life, because the whole universe revolves around rhythm, and when we get out of rhythm, that’s when we get into trouble.
When I'm actually writing by hand, I get more of a sense of the rhythm of sentences, of syntax. The switch to the computer is when I actually start thinking about lines. That's the workhorse part. At that point, I'm being more mathematical about putting the poem on the page and less intuitive about the rhythm of the syntax.
My life is spent in perpetual alternation between two rhythms,
the rhythm of attracting people for fear I may be lonely
and the rhythm of trying to get rid of them
because I know that I am bored.
In any case, suffice it to say I enjoyed hearing about faraway places. I had stocked up a whole store of these places, like a bear getting ready for hibernation. I'd close my eyes, and streets would materialize, rows of houses take shape. I could hear people's voices, feel the gentle, steady rhythm of their lives, those people so distant, whom I'd probably never know.
Timing is so important! If you are going to be successful in dance, you must be able to respond to rhythm and timing. It's the same in the Spirit. People who don't understand God's timing can become spiritually spastic, trying to make the right things happen at the wrong time. They don't get His rhythm - and everyone can tell they are out of step. They birth things prematurely, threatening the very lives of their God-given dreams.
I'm in awful shape. I'm trying to get in better shape. My girlfriend, she's in good shape. She gives me health tips sometimes, like, 'Hannibal, you're going to die.' Stuff like that.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
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