Above: PGIA SAR training. Sarsential 12: Pit-Stop-Run™ (PSR) [ short, efficient training whilst on the road, supporting the blood flow and happiness of tendons, muscles and bladder ]

"We're in a car gotta get off the road, pronto!"

From 'Pulp Fiction, a Quentin Tarantino screenplay', last draft, scene 72, page 119. First published May 1993. In 1994 re-issued by Miramax books and Hyperion, New York.

"Hollywood has learned by trail and error to respect our 90-to-120-minute ultradian rhythm. If movies are too long, the audience will get restive and bored. The acute master of mood, Alfred Hitchcock, once wrote: "The length of a film should be directly related to the endurance of the human bladder." […] In baseball or football, we see the same ultradian need reflected in the seventh-inning stretch or halftime break, when fans get up and move around. […] That's what feeling good together means: being in synchrony with each other."

Ernest Lawrence Rossi on page 171 in 'The 20-Minute Break', first published in 1991 by Jeremy P. Tarcher, Inc., Los Angeles

"One of the movies of which I'm most proud is Peter Bogdanovich's 'Paper Moon'. We wanted to evoke the classic b&w Hollywood tradition pioneered by cinematographers like Arthur Miller, John Alton and Gregg Toland. 'Citizen Kane' was our biggest influence; I had seen it for the first time in Budapest in 1948 and it had made an indelible impression. Orson Welles and Peter were very close friends, and I got to meet my 'god' while we were preparing our film. I'd been testing b&w film with various filters but still hadn't found the right look. Orson said, "Use red filters, my boy." And I did, because although the filters reduced the film speed and meant I had to use big arc-lights to achieve the deep-focus look Peter wanted, the red filters created incredibly beautiful, dramatic skies and gave us exactly the expressionistic look we were after."

László Kovács about shooting Peter Bogdanovich's black-and-white movie 'Paper Moon', from interview 'The Storytelling of László Kovács, Cinematographer' by Jason Whyte, as quoted on

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