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Sequence Quotes

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Sequence Quotes

“I'm really into the basic idea of Kriya Yoga. The breathing that goes on in Kriya. Other than that, it's just communicating with the universe and getting the inspiration for different kinds of breath. Basically, I'm into the movement of breath and the shapes of breath. The different kinds of sequences of breath. I like doing that a lot.”

“When in doubt, the rule of threes is a rule that plays well with all of storytelling. When describing a thing? No more than three details. A character's arc? Three beats. A story? Three acts. An act? Three sequences. A plot point culminating in a mystery of a twist? At least three mentions throughout the tale. This is an old rule, and a good one. It's not universal - but it's a good place to start.”

“I've had to try and find a way over the years of writing narratively that doesn't really require you to sit down and work out what the story's about. You're brought into a sort of sequence of images that have that emotional resonance, but it's kind of irrelevant what the actual story is. It's taken me maybe 13 albums or something to work that out.”

“[Role of Dr.Strange] gives me an excuse as an actor to be learning with my character, which is something you can do authentically - I'm not a martial arts expert, I'm certainly no sorcerer, so all these things, the movement of the body, the physicality, the changes he goes through mentally and physically, obviously we're not shooting in sequence, but it's a great part.”

“I do think that as I said before the canvas of action sequences and the way in which the sequences unfurl will be very unique and will be different than any movie we've made before, and that's what makes it interesting, what makes it [Doctor Strange] special, and what makes it worth pursuing, and worth bringing to life for the first time.”

“I think certain periods of history don't get dealt with because I think historians, and it's their job, but they look back and look for patterns. They look for sequences and they look for reasons, and certain periods of history don't fit with the general pattern of 1500 to the 20th century, during which there's the creation of the United States. At this time of 1814, two nations who would eventually become close allies were at war with each other, so it doesn't quite fit.”

“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.”

“If I could get every single cancer genome sequence that has been sequenced; if I could ever put it in one repository, we have the capacity to do a million billion calculations per second. We'll be able to find out more in 10 minutes more than it would take 10 Nobel laureates 10 years to find out about the patterns of cancer and the cures for cancer.”

“The structures of the WTO need to be reformed to increase participation. There must be a greater sense of shared ownership of the substance of the trade negotiation agenda. Decisions about issues to be negotiated, and in which sequence they should be taken, should rest with all WTO members, not only the most powerful.”

“There was one sequence of days [making Lincoln in the Bardo] when I had halfway decided to use the historical nuggets, but I wasn't quite sure it would work. I'd be in my room for six or seven hours, cutting up bits of paper with quotes and arranging them on the floor, with this little voice in my head saying, "Hey, this isn't writing!" But at the end of that day, I felt that the resulting section was doing important emotional work”

“It’s a most natural way for me. I can tell people I can run in a saree and I can do five sequences in a saree. I can romance in a saree and I can do everything in a saree. For me, it’s a most versatile garment…it’s extremely sensuous and at the same time it is strong, there is an elegance and at the same time it teases your imagination…It’s very powerful.”

“I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.”