Film Sequence Quotes

The first script was one of six original stories I had written in the form of two trilogies. After the success of Star Wars, I added another trilogy. So now there are nine stories. The original two trilogies were conceived of as six films of which the first film was number four.

I think it went Twilight, Welcome to the Rileys, New Moon, Runaways, then Eclipse, so it was like one of those movies between each Twilight movie.

Obviously, movies don't almost ever shoot in sequence.

The lead character in 'Yennai Arindhaal' is like an extension of the protagonists of 'Kaakha Kaakha' and 'Vettaiyaadu Vilaiyaadu.'

'Sound of My Voice' had been written before 'Another Earth.'

After 'Freaky Friday,' another teen movie was not on my playlist.

I'm not willing to do heroine-centric films back-to-back.

It's terrifying. Women make their first film, their second film, and then it's like a nightmare, right, to make the third or fourth? I mean, it's almost like men can have three films in a row that don't do that well and keep on going.

I was shocked when 'The Hobbit' ended where it ended. I wasn't paying attention to what they were doing; I didn't know they had another movie, and I couldn't believe it was when the dragon came out.

It's great when somebody is able to communicate an actual shot sequence to you and you know the world you're inhabiting with that. It's literally a haunting tune.

The first film is everything you want to say and how you want to say it. Lots of directors will do that and do it really well, but the second film is not so easy.

I want do a Mandarin language movie. It'll probably be the next movie I do after the one I do next.

Once I finished 'Sicario,' I knew I wanted to follow it up with 'Hell or High Water.'

For a film I shot on the most difficult mountain on God's wide earth in Patagonia for a sequence where there was high probability some digital effects were needed, somebody made storyboards and I quickly ignored them, after half an hour I ignored them and I never used any digital effect.

For me, it all started with 'Phoonk' around 2008 and then I landed a couple of more films and then came 'Makkhi.'

The trouble with that movie is that you had to see Chinatown the day before you saw The Two Jakes.

It seems like a lot when you have three movies back to back but that's not really how it is.

I turned down a lot of things that were so-called commercial. You're coming out of one film, and then they want you to be in the same one.

One of the things you have to get used to, working on a TV show, is filming out of sync.

There are some sequences in films that I think work filmicly, that stand out to me, but that's much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything comes together.

I shot 'Girl' about three weeks after I finished 'The Magnificent Seven.'

Looking back at all the films it just seems like one long film.

If 'Black Balloon' had come out before 'The Mummy,' casting agents wouldn't have been able to see me for the first time in 'The Mummy.' But now that 'The Mummy' has come out before 'The Black Balloon,' that's a very good combination.

I had a rope around my waist, and the rope was attached into the helicopter in case I fell off. And the shot was a shot that began with Kim Novak going out of a house and getting into a bus. Then it was supposed to go over the countryside and find a freight train on which Bill Holden was standing. And then after seeing a good look at the freight train, the camera was supposed to move up into the sky for the end credits.

In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.