A Quote by Peter Milligan
'The Names' is planned as a nine-part series. I have a kind of road map: I know the final scene of episode nine. But as to exactly how we get there, what detours or horrible accidents we might have to pass through, I like to keep that a little fluid.
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You’ll find your one-in-a-million. But you’re sharp enough to know there’s no point in sludging through the first nine hundred, ninety-nine thousand, and ninety-nine to get to him.
I really try to ask myself the question of nine. Will this matter in nine minutes, nine hours, nine days, nine weeks, nine months or nine years? If it will truly matter for all of those, pay attention to it.
I'm the non-executive chairman of nine or so major companies, and on the nine companies, it's a little trying because you jump from one industry to another, as the case might be. But one had the reasonable knowledge of those nine activities, and it's been an exciting job.
The technology involved in making anything invisible is so infinitely complex that nine hundred and ninety-nine billion, nine hundred and ninety-nine million, nine hundred and ninety-nine thousand, nine hundred and ninety-nine times out of a trillion it is much simpler and more effective just to take the thing away and do without it.
Along the (writing) way accidents happen, detours get taken... But these are not "divine" accidents; I don't believe in those. I believe you have constructive accidents en route through a novel only because you have mapped a clear way. If you have confidence that you have a clear direction to take, you always have confidence to explore other ways; if they prove to be mere digressions, you'll recognize that and make the necessary revisions. The more you know about a book, the freer you can be to fool around. The less you know, the tighter you get.
I was about nine years old when a teacher administered my IQ test. Unfortunately, as I was nine, I didn't know that I needed to keep the paperwork for future reference.
Sometimes that happens. I know how it feels to lose eight or nine to nothing. It can be frustrating but it was good for us. This was a team that was hot the last nine games. It seemed like any puck we touched went our way.
Ever see a skinny guy on a cold day? You know they tremble like Chihuahuas. Then you see a fat guy in a tank top - nine degrees, he's sweatin'. Look at 'Titanic,' remember the boat goes into the icy cold waters? Little skinny Leonardo: dead. Final scene, Kathy Bates on a rowboat, coat open, eating a hotdog.
You figure when you match up against other clubs and you go through the lineup one through nine, you get to the nine hole, if you can put together an at-bat or you can see some different pitches that helps give you an advantage competitively, it can make your lineup stronger.
Yes," I said. "My name is seven-five-nine-nine-three-nine-ex-dash-one. Junior.
Whether it's one scene or 15 scenes in a film, whether it's the lead or a cameo part, if I don't find it interesting, I tend not to do it. You never really know what it is. It could be a one-scene part. I remember I read the one scene in Crash and was asked to do it. I was like, "Absolutely!" There's no formula for how something has to be. I always try to keep it that way.
One of my thoughts on the back nine was 'I don't know how Tiger has won 14 of these things,' I couldn't feel my legs on the back nine.
There are two kinds of people. One kind, you can just tell by looking at them at what point they congealed into their final selves. It might be a very nice self, but you know you can expect no more surprises from it. Whereas, the other kind keep moving, changing... They are fluid. They keep moving forward and making new trysts with life, and the motion of it keeps them young. In my opinion, they are the only people who are still alive. You must be constantly on your guard against congealing.
Work-life balance for founders doesn't look like work-life balance for everyone else. Starting a company isn't a nine-to-six job - or a nine-to-nine job, or a nine-to-midnight job.
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.
You never know where your next job is going to lead you, down the road. One single episode that might seem so far removed from what you might end up doing in the future might spark somebody's memory bank. Just one little line you said or a look you gave might be what they want to pursue with a character.
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