A Quote by Susanne Bier
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.
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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.
The hardest thing about movie acting is that if you're playing a character who changes within the movie, you've got to do that, but you've got to do it out of sequence, because we never have gotten to shoot in sequence, and that's really, really tough.
The genome was once thought to be just the blueprint for a living organism, like a combination of the architect's plan for a building and the builder's list of supplies. It specified the parts, the building blocks, and, somehow, the design of the whole, the way in which they are to be put together.
Whenever I'm doing any film, there's always three different things. There's the script, which is really just a blueprint. And then, you shoot the movie and it's an entirely different experience than you would expect from reading the script. And then, there's the whole post process and the editing, and it becomes something else entirely.
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.
A random sequence is one that cannot be algorithmically compressed : the shortest description of a random sequence is simply the sequence itself.
We all write, but the script is a blueprint. We can lose whole scenes when we're shooting.
I wouldn't say I see things visually first, but what I do think is important, for a lot of screenwriters, is to not just think about the words on the page, but also the world as a whole and the vibe of the movie, rather than a sequence of scenes written on the page.
You can't get a movie made without a script; it's the blueprint to your building.
Fight sequence to me isn't just about the athleticism. It so often is about what the emotion that is behind it and how willing you are to really, really challenge that emotion or really take that emotion to that place so you're feeling a certain intensity for the whole time when you're shooting the actual physical scenes.
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.
A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.
Compose in the sequence of the musical phrase, not in sequence of a metronome.
A novel, of course, is a fully self-contained work of art. You pick it up off the shelf, open it, and there it is - a whole universe waiting for you to enter. A screenplay is just a blueprint for making a movie. Until the movie is actually filmed, the script really means nothing.
Video game voicing is absolutely different from cartoon work. In cartoons, you're almost always there with the entire cast, and the entire script is acted out in sequence. With video games, it's you by yourself, in a room with a script you just got when you walked in.
In truth, it matters less what we do in practice than how we do it and why we do it. The same posture, the same sequence, the same meditation with a different intention takes on an entirely new meaning and will have entirely different outcomes.
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