A Quote by Todd Haynes
Films like 'Velvet Goldmine' are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.
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Love this in the film, “Velvet Goldmine” it captures the excitement and the thrill at the moment of discovery!
When you're doing a film, narrative is your most important tool, but it's a tool to create a cinematographic experience, to create those moments that are beyond narrative, that are almost an abstraction of that moment that hits your psyche.
It [moviemaking] is like a dream. When you're dreaming, you make some very strange connections between some random stuff and random people.
Saddam Hussein's mind would have been a unique resource for historical, political and psychological research: a resource that is now forever unavailable to scholars... In a small way his execution represents a wanton and vandalistic destruction of important research data.
When you work on a computer in the studio, it's almost like fossilizing on the spot, you know, the idea of getting solidified on the spot, like a snowflake might create branches by accumulation.
[Donald] Trump has quietly rolled out an immigration plan with specifics and everyone wants specifics. He's got immigration with specifics, a black and Hispanic outreach plan with specifics.
The purely random sample is the only kind that can be examined with confidence by means of statistical theory, but there is one things wrong with it. It is so difficult and expensive to obtain for many uses that sheer cost eliminates it. A more economical substitute, which is almost universally used in such fields as opinion polling and market research, is called stratified random sampling.
Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.
Look, if you have a problem with distilling the Battle of Thermopylae down to freedom versus tyranny, you need to read Herodotus because he's the one. It's his fault, not modern culture's fault. He did it.' [Victor Davis Hanson] references a lot of things like that because he feels like the spirit of the book and of the movie ["300"] are very close to the Spartan aesthetic. That's really kind of what he feels."
You have to be very careful with who you do business. It's like a marriage. Do your research and check references.
Living "in" a story, being part of a narrative, is much more satisfying than living without one. I don't always know what narrative it is, because I'm living my life and not always reflecting on it, but as I edit these pages I am aware that I have an urge to see my sometimes random wandering as having a plot, a purpose guided by some underlying story.
I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
Basically, I like research because research is like to solve the quiz, you know. Always there is a problem, and I have to solve the problem. So I like those patterns. It's almost like research is sort of in a quiz.
We search out the most perfect pieces of rock. It's so amazing that these formations are so perfect for climbing on. It's almost as if they were created for climbing. You're taking these random rock formations and you're bringing to it this interaction. It transforms it from being this random rock into almost this piece of art. It's almost like a sculpture or something. Just by finding the handholds, finding that line up the rock. Every climb is different, has its own unique set of movements and body positions. Climbing and my appreciation for nature are totally intertwined.
The first attempts to consider the behavior of so-called "random neural nets" in a systematic way have led to a series of problems concerned with relations between the "structure" and the "function" of such nets. The "structure" of a random net is not a clearly defined topological manifold such as could be used to describe a circuit with explicitly given connections. In a random neural net, one does not speak of "this" neuron synapsing on "that" one, but rather in terms of tendencies and probabilities associated with points or regions in the net.
"Hello" is always presented as a linear narrative, a singular chain, sometimes in a loop. But the reality of making it is that connections are naturally sprawling all over the place, so I am free to edit any way I want.
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