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“A drone strike is a terror weapon, we don't talk about it that way. It is; just imagine you are walking down the street and you don't know whether in 5 minutes there is going to be an explosion across the street from some place up in the sky that you can't see. Somebody will be killed, and whoever is around will be killed, maybe you'll be injured if you're there. That is a terror weapon. It terrorizes villages, regions, huge areas. It's the most massive terror campaign going on by a long shot.”

“I can't abide to see men throw away their tools i' that way, the minute the clock begins to strike, as if they took no pleasure i' their work, and was afraid o' doing a stroke too much.... I hate to see a man's arms drop down as if he was shot, before the clock's fairly struck, just as if he'd never a bit o' pride and delight in's work. The very grindstone 'ull go on turning a bit after you loose it.”

“We may say that feelings have two kinds of intensity. One is the intensity of the feeling itself, by which loud sounds are distinguished from faint ones, luminous colors from dark ones, highly chromatic colors from almost neutral tints, etc. The other is the intensity of consciousness that lays hold of the feeling, which makes the ticking of a watch actually heard infinitely more vivid than a cannon shot remembered to have been heard a few minutes ago.”

“All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.”

“I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location. It's there, it's part of the story usually. You have to deal with the elements. You have the sunshine, you have rain, you have fog - it really makes you work harder to try to match things during the day to make it look like it was shot within five minutes, movie time.”

“A lot of the challenge and the reason for the success of those one-shot photographers is that their pictures almost have to be subject proof. Because you usually only have a few minutes with the person. You never know who's going to walk into the room - whether they're going to be friendly, grumpy, sick of photographers, or between meetings.”

“If I had my life to live over again, I would have waxed less and listened more. ... I would have cried and laughed less while watching television ... and more while watching real life. ... But mostly, given another shot at life, I would seize every minute of it ... look at it and really see it ... try it on ... live it ... exhaust it ... and never give the minute back until there was nothing left of it.”

“According to Life & Style Weekly, 50 Cent may be working on Lindsay Lohan's next album. Finally, a match made in rap heaven. He's a convicted drug dealer who's been shot nine times, and she spent 84 minutes in prison. This is a big step for Lindsay. The last time Lindsay got near a black guy she ran over his foot.”

“What happened with Final Destination was that the movie was in post-production for a long time and I think they changed a lot of the deaths, so a lot of those things were last-minute additions. Everything we shot is in the movie and it's all been designed. We didn't change anything. It's been a year of making those things happen, exactly as we had pictured them.”

“It's funny, because it's like the fight when you watch it, it's probably going to be like five minutes, but it's taken us like a month to shoot it so I think what was really interesting was that instead of going through an entire fight sequence, you're doing one or two moves over and over and over, so I'd say it's less exhausting than actually training, because you're not really constantly going over the choreography, like the whole entire thing with everybody. You're just doing that one part that they need in the shot.”

“People who just wanted to make it work and knew it was going to be a real challenge. We were on the beach the first day and Donald [Sutherland] and I are playing best friends our whole lives. We met each other for 10 seconds the night before and we're sitting on a beach lining up a shot that we shoot a few minutes later, never having had a conversation with each other and then end up going skinny dipping in the Pacific Ocean buck-ass naked, not knowing who the other person is.”

“My wife made me watch this documentary about the Iraq War, and there was a really powerful moment where they followed some civilian whose family had been killed. This was 5 or 10 minutes of this woman talking, and it was extremely arresting. You realize how you never hear from the person on the receiving end of a war without a reporter stepping in to compartmentalize the story. Usually they're just a few shots at the end of a news report, wailing and screaming at a funeral.”