A Quote by Thelma Schoonmaker

I won the Oscar for 'Raging Bull' for those fight sequences. If you look at those fight sequences, those were so incredibly storyboarded and shot in an incredible way - that is the conception a good director has to bring.
Most fight sequences on a television show, probably any action adventure show that you know of, if you asked them how long they probably spend, [it's] one or two days doing the fight. Where we were spending eight days concurrently with an episode doing our fight sequences.
The thing about animation is that it's a constantly changing process. They talk in terms of sequences - so there's like thirty different sequences in a movie and at anytime those were shifting or being taken out or being replaced.
Going as far back as 'Dexter's Lab,' we've always had these sequences with no dialogue. The interesting thing is those sequences got the biggest reactions.
Fight, fight, fight and more fight. If you have that burning desire in you, if you're just one of those guys that does not like losing and you fight and you fight and you fight, that's what makes you a good wrestler.
I love 'Captain America.' I love those fight sequences, but I've seen them multiple times.
The worst thing that can happen is when you have gone weeks and months into elaborate sequences and the storyline of the film changes and you find out they don't need it. Sometimes you don't shoot those sequences, or they have been shot and then get edited out of the sequence you've shot gets changed and needs to be redone. That can be hard. It's not heartbreaking, but you do tend to think, "Och, all that work and effort." But that's filming, you know? You put all of these modular things into the pot, and sometimes they don't all get used.
On 'Sicario,' we storyboarded key sequences but not everything.
We knew that all the protein-coding bits of genes do is to produce protein - they have to have instructions to turn them on and off. Those sequences lie well outside the protein-coding sequences, sometimes thousands, tens of thousands of bases away.
When I see action sequences I like, I imagine what I would do if it were me in the fight.
For my character, I mostly shot in the jungles and also did stunts and fight sequences on the harness. At the end of the day, I used to be hurt and bruised, but I completely enjoyed doing all these.
I used to do fight sequences, and I started to get self-conscious about fight sequences, because invariably the other person would get hurt, and you never want anyone to be hurt on a film, let alone you being responsible. The great thing about working with guys who have spent their life choreographing fights for wrestling is that that's what they do. That's their specialty. Their specialty is selling taking hits. Their specialty is selling explosive hits without making a contact or doing too much damage.
There's a lot of garbage, and then there are those ones that just stand out so incredibly. You fight for those roles; you do everything in your power to get it.
In certain fight scenes in 'Raging Bull' - for example, the shorter ones - I literally just took the head and tail of the shot and put it together, and it all worked beautifully.
Everyone who shoots dance sequences does it in a different way. Everyone who shoots fight sequences does it in a different way.
I always wanted to play a boxer because some of my favorite films, as a boy, were those great boxing movies, like 'Raging Bull', 'Rocky', 'The Set Up', 'Fat City and Hard Times'. I just loved those films.
So there are five ways of knowing who will win. Those who know when to fight and when not to fight are victorious. Those who discern when to use many or few troops are victorious. Those whose upper and lower ranks have the same desire are victorious.
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