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Jazz, isn't that just a series of mistakes diguised as musical composition?
You'll see more violence in any television crime series than you will in my films Art is there to have a stimulating effect, if it earns its name. You have to be honest, that's the only thing.
Throughout the series [Narcos], I appear younger and younger - I don't know why that is particular to Netflix, to show the evolution of Pablo Escobar's children in that manner.
I really, really love new work, and that's why, you know, I produced a concert series supporting new musicals and stuff like that. I hope to do more things like that.
He's (his father Jorge Posada IV) happy for me. He remembers all of my big games. When I hit my first home run in the World Series, he was here, and he cried. It's like I'm living his dream.
In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.
Maybe, I got a sense when [Star Wars] came out, and there were always these lines around the block. We didn't understand the popularity of Cheers until maybe five years into the series.
Babies learn through a series of increasingly self-corrected ideas. They use very sophisticated hypothesis testing strategies to find out about their world.
There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.
At the end, we brought her to New York, where I was living, for a series of experimental tortures that increased the misery of her days without increasing the number of them.
I trust the [series] writers when I'm filming, because it's interesting for me to go in every week and see what's going to happen, and the challenge for me as the actor is to make it work.
Sometimes a serendipitous reaction occurs when a network asks you if you have any ideas for a series, at a time when your creative flow is working in that direction.
Since this was the first and only series I had ever produced, I was unaware of what the "Normal" environment was for a studio. I tried to run it as I did in my SF studio.
I'm probably always guilty for rooting for a long series. Not either side - I don't really care who wins the game, but it makes for more compelling TV the more games you go deeper into a series.
Each death and departure comes to us as a surprise, a sorrow never anticipated. Life is a long series of farewells; only the circumstances should surprise us.
I'd just find a story in Canada and come and do it. Combine harvester banger - actually I've done that: banger racing up in Red Deer [in Alberta, for his 1998 doc series Extreme Machines].
Another part of the challenge was to bring back things that you've forgotten about and maybe some things you haven't forgotten about, recontextualize them and have the series make sense.
When you think of how a child experiences a series of events, it feels, for so long, like she's looking at everything from behind this glass and it's obscured.
I'm capable of making $44 million. I know I'm intellectually capable of finding a series of things and making hundreds of millions. I have to get there and do it. Carefully. Legally.
Fortunately, at the end of every season, we close the chapter and start anew. That's the language of the series now, so it can organically come to a conclusion that we love.