A Quote by Rick Yune
This is the Bond of the new millennium. Everything is updated, from the action sequences to the interaction between the characters. All the elements reflect changes that have occurred in the world in recent years.
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I still don't understand why the tag of 'action hero' follows me. My films have all these elements - romance, action and comedy. None of the fight sequences of my character is an act of randomness. There's a reason to action in my films.
The new millennium sucks! What a disappointment! What's the difference between the old millennium and the new millennium? Nothing! It's the same load of crap with a '2' in the front. When I was a kid, I am old enough so that when I was a kid, I looked forward to the new millennium. When I was young, I said, 'I'm gonna live through a change! A massive change! Things are gonna be different! Things are gonna be great!' Screwed again! No flying cars! No flying cars!
I call it an old-fashioned seafood house for the new millennium. We are trying to update what we know as old fish houses and places like that, which are great, but I want to give it a new, fresh look with updated versions of the classics we all love.
Most new prison construction has occurred in predominately white, rural communities, and thus a new and bizarre form of segregation has emerged in recent years. Ghetto youth are transferred from their decrepit, underfunded, racially segregated schools to brand-new high-tech prisons located in white rural counties.
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.
This is a good way to do it (saying goodbye to Victoria Park). What a perfect way to end the Millennium. The last football home and away match of the Millennium will be at Victoria Park, and in the new Millennium we'll have fantastic facilities, a new approach, a new attitude.
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.
All films created by Walt Disney at the time of his major outpouring of work were carefully crafted to fit scenes, characters, moods and situations. If these elements changed in any way, songs - no matter how good they were - were discarded. Others were written for the new scenes. Many times, character songs were dropped because characters were dropped...sequences were dropped etc.
Indeed, I suspect that the changes that have taken place during the last century in the average man's fundamental beliefs, in his philosophy, in his conception of religion, in his whole world outlook, are greater than the changes that occurred during the preceding four thousand years all put together.
The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.
If the lives of men can be measured in terms of years, ideologies in decades, and nations in centuries, then the unit measuring civilizations, born of the interaction among peoples, would be the millennium.
You get so caught up in what you're writing - action sequences tend to do that more than anything else because you're living it, and feeling for your characters.
Mysteries always have the potential for interesting connections between the elements. I'm also most interested in the relationship between the characters. As in 'Masterpiece,' I'm trying to create characters who not only are solving a mystery but are solving the riddle of their own personal relationships.
See, it's kind of like James Bond. There's a new James Bond every couple of years. Maybe I can do the new 'MacGyver' and put my own twist on it.
I love both [Johnny English and James Bond] actually. The action sequences are really exciting because you're getting to work with some brilliant crew and do some great stuff but you always get some magic when you're working with actors.
Bond doesn't have an inner life. There would be moments when I'd think, 'We need to gather our thoughts here and have a breather,' where in another novel you'd slow the pace, have some description and see what Bond feels about this. But Bond doesn't reflect. All you can do is move on to the next bomb or shark or car.
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